Fm-Synthesis

2 articles tagged "Fm-Synthesis"

FM Synthesis

Carriers, modulators, ratios, algorithms. Why FM synthesis can produce sounds that subtractive cannot touch — metallic bells, glassy keys, evolving textures — all from sine waves.

Synthesis Fundamentals

How synthesizers work — from oscillators to algorithms. Platform-agnostic concepts you can apply to any synth, any DAW, any era of electronic music.

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- OFFICE HOURS: Office hours this afternoon covered a chord and harmony detection tool currently in development, including how it identifies chords from live audio or pre-recorded music, displays them on a keyboard, and maps them to a harmony wheel to help determine key. Discussed distribution logistics for the tool across desktop (standalone and plugin), Discord-authorized, and potential iOS versions. No formal instruction was given; the session was primarily check-in and tool-testing coordination.
- WEEKLY-BEAT-CHALLENGE: Reviewed submitted beats from Paul and Jon, with feedback on chord progressions, bass tone, arrangement, and structure. Discussed modal interchange in the context of a minor-chord submission built around a destabilized fifth. Explored a potential new challenge format: scoring original music to a provided video clip.
- OFFICE HOURS: We explored chromatic mediants, modal ambiguity, and the harmonic character of specific chord relationships — particularly E minor as the mediant in C major, and D major to F major as a chromatic mediant movement. We also discussed tertiary harmony as the structural basis for these ambiguous chord relationships, and worked through how augmented chords function as pivot points between multiple key centers. Additionally, we troubleshot the Harmony Wheel app with a participant experiencing a MIDI audio issue, and Nathan pushed a live update to resolve it.
- OFFICE HOURS: Vibe coding plugins Building a studio room with a business partner Focusing on songs, and artistry versus production vs mixing
- OFFICE HOURS: Covered mix decisions from a completed original song, walking through manual pan automation, ping pong delay routing, reverb on snare, and processing approaches for bassoon (Fresh Air plug-in, horn-style EQ preset, light compression). Also discussed genre specialization in mixing, when to outsource versus learn to mix yourself, and the value of building a complementary creative partnership rather than wearing all hats.
- INSTRUMENT-GYM: Keyboard techniques on I - IV - V - I (over tonic pedal) V6 - vi7 - IVMaj7 - I. Introducing 7th and 9ths through common tones.
- PRODUCTION-GYM: Covered a deep listening and production analysis session using a 1970s Yacht Rock track by Ambrosia, with AI stem separation in Logic Pro to isolate and examine individual elements. Worked through instrument identification (Fender Rhodes, Wurlitzer, Hammond organ, piano, synth, bass, drums, guitar), production techniques of the era (overdubbing, palm muting, dry drum production, multi-miking), vocal technique (chest voice, head voice, the flip/yodel transition), and jazz-influenced chord vocabulary including passing chords, turnarounds, and borrowed chords.
- EAR-TRAINING-GYM: We worked on multi-note chord ear training using a stack-of-fourths voicing, exploring why certain interval relationships make individual pitches difficult to isolate — particularly when notes share harmonic content with each other. We used sine waves and an EQ solo technique to strip away competing overtones and focus attention on individual pitches, then connected those listening skills to a frequency-identification exercise using EQ curve matching on a live mix.
- THEORY-GYM: We used Cat Stevens' "Wild World" as a case study to examine how a relatively simple chord progression built on the circle of fourths can generate strong harmonic momentum through cadences, dominant motion, and the interplay between relative major and minor. The session traced the song's movement between A minor and C major, covering concepts including the 2-5-1 progression, the Picardy third, chromatic mediants, plagal motion, and deceptive cadences. Arrangement and production elements — non-traditional drumming, rhythmic hooks, space in the mix, and the role of acoustic instruments — were analyzed alongside the harmony using a chord-tracking tool and AI stem separation.
- OFFICE HOURS: Worked through sound design and production feedback with a student exploring industrial-influenced beats built around filter automation and Serum. Covered level automation, ear candy placement, long-phrase repetition hooks, harmonic vocabulary, and the value of a single signature sound that sets a track apart. Also addressed questions about educational software licensing and discussed the school's local SEO and live event strategy.
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Fm-Synthesis

FM Synthesis

Synthesis Fundamentals

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