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Comments
What about voice Unison and Unison detune?
I've put it on the longer-term-wishlist, because this will require a significant change to the inner synthesis engine. It's not forgotten!
@brambos . Love these features you keep adding. Keep up the good work
@brambos I'm really 'puzzled' about the carrier/modulation ratios of Phasemaker as they are not even close to 'other' FMish-Synths such as my trusty TX81Z, DXi or FM4, Gadgets Chiang Mai or even X-Mod in Poison-202.
Does this have something to do with the 'table sizes' that Phasemaker uses??
(Maybe I'm too used to 8-bit sine-waves using 64K tables??).
My 'classic' MonoBass(2OP) is next to impossible to get to 'sound right' using Phasemaker while it's very easy to get results in the same ball-park with with the other mentioned FMish synths.
(In essence carrier has ratio of 1x and modulator ratio of 0.5x where that total output of the modulator sets the 'max' level of 'modulation' and the 'envelope' controls the amount of modulation).
I've attached a 'screenshot' of FM4 producing the 'sound' I'm after...
(I'll keep on trying different modulation/carrier rations and see if I can get somehwere but It's a pretty frustrating experience).
Ratios are simply multiplication factors of the base-frequency. So if you hit a an A @440Hz, then a ratio of 2.0 means the operator will play at 880Hz (regardless of whether it is a carrier or a modulator). A ratio of 1/2 means it will play at 220Hz. I wouldn't expect any differences there.
Keep in mind that the "modulation index" of a modulator has a much bigger impact on the 'wildness' of the sound than the ratio of the modulator. This is essentially the "maximum level" of the modulator. Phasemaker uses the exact same modulation index (and non-linear index curve) of the DX7, which has a top modulation index of ~4pi. The DX100 (which the FM4 emulates) has a maximum modulation index of ~8pi, presumably to compensate for the 2 missing operators on complex patches.
I guess every FM synth has its own modulation index behavior (maximum levels, linear curves, non-linear curves, etc.) so you can't simply make a translation from one synth to the next without introducing differences in how it sounds and changes over time.
Thanks for the explanation!
My 'FM-Experience' comes from using my TX81Z which Is my 'reference'.
I suppose X-Mod has extreme modulation index which I kinda love too for wild noises
I do have the TX/DX100 modulation index curve already built-in, but opted for the slightly tamer DX7 curves, because when using 3-5 modulators in a row it quickly devolved into chaos for anything higher than octave 3 :-D
I can see if I can make the curves switchable via settings (this will make all presets sound different though, so handle with care).
The wilder the better. I mean my first 'homebrew' FM synth on the Amiga used a 256-byte 8-bit sinewave with 16-bit 'counters' to caculate a new 256 byte buffers. I used it mainly to create experimental samples... Weird, warped sounds where easy to produce...
Thankfully we have multiple options for FM on iOS too
You could make the index transfer curves modulatable instead of merely switchable, AM'd by one of the other operators.
That sounds like it could add interesting 'animation' to the sounds
Lots of cool ideas.
Glad to see non iTunes saves mentioned as I've done 33 sounds I'm happy with so far. This really is an easy synth to program @brambos
I will share my sounds on here when non iTunes saves are available
Welcome to FM Synthesis!! LOL
Indeed... before creating the somewhat intelligent Mutate feature I had a pure random function for testing... My ears are still angry with me.
I'm not talking about making an unpleasant patch. I'm saying that there's a horrible noise and then no more audio.
So good!
Now testing... You'll like this.
Just wondering why fm synths don't usually have filters. Isn't that the best part of synthesis?
Filters are used to carve away frequencies from a raw sound to make them "duller". FM synths already start with a "dull sound" and add frequencies.
So basically: you don't need a filter. Simply lower the modulation strength to get a filter-like effect and play with your envelopes if you crave that "wwwwooooow" sound.
Some good AU filters out there if you want to bung some Filter action after PhaseMaker. Try F-16 Filter and ApeFilter
Looks good
Even the 'FM' in stroke-machine goes to extreme over-drive
(It sounds to my ear like the 'depth' is the whole audible frequency spectrum when maxed out because at very low modulation speeds it's a sweeps the whole frequency spectrum).
@brambos In addition to the 'strong' mode(increased modulation depth) for the operators could you please consider making it possible to change the 'time factor' of the envelopes? (The times are pretty shortish compared to other FM-Synths).
@brambos - yes i usually avoid posting here but i agree with Samu, the envelopes, even when using the magnified view, don't seem to allow you to make those long drifting sounds that rely on all the different envelope attacks/decays being very unsynchronized. as far as i can see/hear.
@Samu @RockySmalls I'm with you guys. Needs more flexible envelops.
The envelopes are what they are. If I change them now every preset and project containing Phasemaker will sound different.
Understood...
What I meant was no need to change the current presets (they could stay at say envelope ratio 1x) while it would be optional to set 'evenlope ratio' for new presets to allow longer attacks, decays and releases.
@brambos can you think of any advice, tips or workarounds to achieve 'the drift'?
.. isn't it possible to put a 'supersize' envelopes dial that will be at zero for all the previous presets keeping backwards compatibility and can be dialed in for some new 'apollo soundtracks style' shenanegins?
Ok, that makes sense... like a pad/drone mode for extremely long envelopes.
Or 'longish' sweeps for those Ddddoooooouuuuuugggghhhhh bass sounds
What about: keep the envelopes as they are, but add a 'jump back again' counter in which you can select an amount of cycles (or infinite). This jump back again counter would have another parameter other than just how many times to loop, it'd also have a delta parameter which pertains to distance along a curve to extend the end points into.
If the delta is zero, it only loops the sustain portion (ie, flat line, indistinguishable from just normal sustain with no looping).
If the delta is the middle value, the loop starts from halfway down the initial decay and ends halfway down the release (which hasn't happened yet, but you get a preview of it here) and then it rubber-bands backwards from the halfway decreased release down point back up through the sustain level (for technically an infinitely small amount of time as it crosses through) and back out to the halfway deflated initial decay point, and then cycles forward again.
The result is that at zero repeats and zero delta, everything's the same. Max (infinite) repeats and max delta, you've got a wild full-scale-deflection LFO, and in between, there's mild continuum effects.
Comprendo. Although you could arguably achieve the same with a Down-ramp-LFO