Applying Frequency Modulation to ANY Source Sound Using FM7 - Tutorial By: nexxoussone

I was recently asked by another gridsta how frequency modulation could be achieved when using a non-FM source. So, I said, fuck it, might as well make a basic tutorial. Well, an exemplary way to achieve this would be to send your source through the audio input of Native Instrument's FM7. Before I get too deep into it, want to cover the necessary terminology involved, so no one will be left feeling confused as I progress through this tutorial. Operator: an operator is an oscillator with an amplitude envelope. Carrier: if an operator is routed to the output, it then becomes a carrier. Modulator: once connected to another oscillator, in order to modulate the waveform, an operator becomes a modulator. So, as you can see, operators can be either modulators, or carriers, but they can also be both. Algorithm: a series of modulators and carriers is an algorithm. Now, in case you don't know, frequency modulation is all about harmonics. Harmonics are your friend. Anyway, this tutorial will show you how to apply frequency modulation to any source that you desire, whether it be a simple wave file, a synth, a sampler, any fukkin thing you want. Now, whereas my main intention is to show just that, you can also apply this knowledge for use of FM7, and other FM synths for their main purpose...not just audio throughputs. I am a Logic user, and therefore will be basing my interactions upon that, but will generalize so as to try and not leave anyone out. I have used nothing but Logic as my sequencer for years now, and have no frame of reference other than that. First thing, [obviously], open your sequencer and decide what you desire to apply the frequency modulation to. For the purpose of this tutorial, I will use the EXS24 sampler. Next, you will want to open FM7 as an effect for the same track. In the Logic menu for FX, it will be listed as FM7fx. The default bank for FM7 will be fine for use, or you may load an empty bank and go from there, but I will continue as if you have used the default. Referring to the default bank, choose preset 127, which is called "INPUT as Carrier".

Now, if you play your input source through at this point, you will automatically notice that 1) it is much quieter and 2) there is already some modulation applied. So, first go to the master view, by clicking on MASTER (green button, top row) and turn up your input and output levels....if you desire...you can, of course, throw up the level on that track in your sequencer as well.

Next, go to your operator view, (once again, green button...you should click on F, as that one is the active carrier, but you 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 looking at the OPERATOR ON/OFF buttons (to the left a bit, directly under the green row).

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

This brings you to the Matrix window. As you can now see, operator F is connected to the output, which makes it a carrier. Whereas it doesn't at first look to be, this is how all carriers are routed while using FM7 as an audio through. You will notice that each operator is listed in a diagonal fashion with empty boxes all around connected by lines. Now, go to the box connecting operator F to the input (and output), click/hold and drag up and down. This is how you adjust the level amounts for these boxes. Go ahead and turn it completely off, and the box will disappear. I want to not use this operator right now as it has already partially been set up and I want to show you how to start from scratch. Now, turn off operator F by clicking on the aforementioned OPERATOR ON/OFF button for F, and turn on operator D. You can see the indicator becomes highlighted in the matrix view. In order to control the parameters for operator D, you will have to click on D in the green button row. Now, go to the matrix view and connect operator D to the input, go ahead and level all the way up to 100.

[If you were using FM7 as an instrument, not as an audio through, you would instead connect it to the output. Notice that there are two different parameter adjustments for the output. The one on top is your level; the one beneath it is the pan level. Also notice that the output also has these adjustments available.] Now operator D is a carrier, and since we are using FM7 as an audio throughput, it is also a modulator. Say that you wanted operator D to modulate itself directly above D in the matrix is a box that shows connection lines only for D. Adjusting the level of this box will effectively cause D to modulate itself, creating a feedback loop.

You now know what the boxes above the operators are, the rest of the surrounding boxes are for different routing paths. To the lower left of FM7, above the keyboard, you can see the waveform for your operator. Here, you can select from 32 different waveforms by click/holding and dragging up or down where the number of the current waveform is displayed. The default waveform for the FM7 is the sine wave. For this tutorial, I have loaded a reese into the EXS24, with a saw as the basis for the reese creation. Now, unless you want to completely mangle the fuck out of your input sound, it is usually a good idea to at least approximate the basis for your sound input, and apply that type of wave as the modulator. Since mine is a saw type reese, I will apply a saw-ish waveform. So I selected waveform 11. Above the waveform display, you have the adjustable frequency and hertz parameters. Default will have hertz at 0, and the frequency at 1. At this point you should note that each full number value is the equivalent of one octave. So, play your source sound, and drag around the frequency setting. If you drag it way up, you will screech that shit out. Drag it to zero, and there is no modulation. Note that whatever number area you position your mouse pointer over before you drag, gives you different levels of adjustment. Now, be aware that 1.0 is the equivalent of octave 1 as it pertains to keynote 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 would have to automate the frequency to follow each note. So, to understand, if you haven't already, play one of the C's on your keyboard while the frequency is set at 1.0. Sounds good; now continue to play a non-C note, and it mangles all

fukkin crazy the further you get from C. Also, notice that quarters also sound good. In other words, 0.25 as it pertains to C sounds good, as do 0.50 and 0.75, throughout the octaves. Moving on, I am going to set the frequency at 0.25. Hertz, well I hope through EQing that you all know what hertz is. Best [quickest] way I can describe how this will affect your sound is almost like an LFO. Numerically, you will have to figure it out, because I don't wish to be all week at this. So, for my purpose, as it pertains to note C, I will set the hertz at negative 64. At this point, there are many other 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 we changed from the envelope view earlier (to the matrix view), so don't forget that is there. Since I am perfectly happy with the gate envelope (default), I will leave it be. Now, in order to set up an algorithm, we will need more modulators. So, go and turn on operator what the fuck ever, and connect that operator to D, making what operator you have chosen a modulator. Set up your shit again (frequency/hertz/levels/wave), and continue to do this in succession. Remember, you can always create another carrier rather than a modulator, or have an operator do both. Now, if you are applying automation in order to follow notes in your sequence, and don't want to mangle the shit out of it, the more complex your algorithm, the more complex that type of automation becomes. As far as operators X and Z, X is saturation and Z is distortion. My final matrix view:

Don't forget that, if you wish, you can apply the FX from the FM7 to your input as well. Along the row of green buttons at the top you will see EASY (FX) and LFO among them. The master button is your final control over end levels. W3RD! Don't forget, you can apply all of this to sound creation rather than audio through simply by routing to the output in the matrix instead of the input. There are an assload more parameters and assigns available, so tweak away! Since I probably will end up just deleting/not using what I have shown you here, I will attach my final sound in the next two posts. The first I bounced in 16 bit/44khz (this sample plays longer because in this format you can fit more in one meg...damn upload restrictions ), and the second I bounced in 24 bit/96kHz (obviously, shorter).