i only need to be shown how to set up the carriers and modulators in vital synth..the other parts i can figure it out

thanks1

 

the last waveform on oscillator 3 why isn't it sine wave?

also on the last oscillator u chosen SYNC....instead of FM...is this sure its correct?
on orgiinal photo it says Carrier 1 Mod 3
is this done using SYNC in this case? instead of choosing FM <<<< OSC 1 for example

thanks!

 

Last edited: Sep 5, 2022

If I had used fm on oscillator 3 , it should have been modulated by oscillator 1 or 2, which would have created a modulations loop, this can be an interesting effect, but it's rarely musical.

So the modulation order is osc 3 modulates osc 2, and osc 2 modulates osc 1.

Just to make osc 3 wave a bit more rich and make it send a more interesting modulation to osc 2, I added this sync effect, which sounds similar to fm modulation.
Just disallow osc 1 and 2, and push osc 3 volume to listen to it alone, now try different level of sync, you will understand.
Now, put osc 2 and 1 on again, and continue trying different sync levels on osc 3, you will also hear how important it is in this sound.
I didn't use a sine wave for the same reason, to enrich the first modulator.

Take in account that osc 3 is the first one in the chain, which means that it will define a lot of the sound as it's waveform will be modulating osc 2 AND osc 1 through osc 2.

As a side note, even old hardware from Yamaha , like the TX81Z had different wave forms to do fm, not only sine waves.

 

Last edited: Sep 6, 2022

how did u learn FM synthesis? u seem u know things....any recommendation

thanks!

 

I learned by myself. Simply using reasoning and test and try, and my ears.
Honestly, it's not too complicated once you understand what I voluntarily underlined for you:

FM synthesis is all about creating a waveform by modifying it with other waveforms.
So you only need a carrier, and every other osc that's before it will participate in this waveform.
It's like creating a new color mixing other colors.
Think of it like if you pour bassins of colors one to the other in cascade.
Let's say that the first one (osc 3) is blue, you pour it into a bassin full of yellow (osc 2) , so now the resultant color is green right?
Now we pour it into the last one (osc 1) which is red, now you obtained a brown color.
But if you change osc3 color, all other colors will be changed, right?
It's as simple as that.

Once you have a color you like, add envelopes to the oscillators, to create life and time movement.

Btw, it can be easier to understand if you can visualize the resulting waveform, so if you can, add an oscilloscope at the end of the chain.


Just to add more practical information: by detuning an osc prior to the carrier, the waveform is also changed, not the tuning, so you should also try that.
If you are looking for harmonious sounds, detune by half steps looking for clear resonant intervals, like major third (+4 semi-tones) , fifth ( +7 semi-tones). Other interval may work (4th may work well) depending on the waveforms . And a fifth 2 octave up or down will have a very different effect, so experiment and take note of what you like the most.

 

Last edited: Sep 6, 2022

Learning FM synthesis is not for everyone, this refers to a pure FM synth.Easier is this one:

Spoiler: Subtractive Synthesis

Subtractive Synthesis
In subtractive synthesis, a harmonically rich waveform is first generated by an oscillator, which is then attenuated by a filter to get the desired sound.
This type of synthesis is the most common. It is associated with the classic synthesizers that started it all.

The waveforms used for subtractive synthesis are square, sawtooth, sine and triangle.
A square wave has a rich, lively sound with lots of harmonics.
But when you apply a low-pass filter to it, the harmonics are cut off or subtracted from the sound, giving you something resembling a sine wave.

Combine it with an envelope generator to create changes in amplitude over time, or with an LFO to create modulation, and you get a surprisingly wide range of possibilities.
Today's subtractive designs are rooted in classic circuits that defined the synthesizer as we know it today.
This makes them especially well-suited for classic analog leads, pads, and basses.
Source: https://blog.landr.com/de/synthese-arten-wavetable-fm-und-andere-arten-der-synthese-erklaert/

Choose a synthesizer you are comfortable with. The best thing is to read something in the corresponding manual,
apply it and try it out, eventually it will be clear to you how it works and which controls show effects.

I have discovered an error with you. Thor to the Vital. It is not good to try to transfer settings from one
synthesizer to another. That is also copying rather than being creative yourself. It is rather better to
learn what which control does and causes. It is like a profession without training no skilled worker.

Read and apply, add other controls and play and try out diligently. This is the only way to understand everything after
weeks, months or years. So learn playfully with pleasure and learn some expertise. Half an hour a day is enough.
You will eventually realize what you enjoy the most and then probably want to deepen your knowledge of the matter.
You have to be obsessed with synthesizers and if your heart burns for it you will learn almost by yourself.

Preset sound design is very labor intensive and time consuming and very poorly paid.

 

Last edited: Sep 6, 2022

Sorry but I completely disagree with you.
FM synthesis is a bit different but anyone can learn it.

 

the carrier is usually a sine wave
a modulator is sent to the carrier and if it is sent at 100% volume it will end up sounding really noisy
and if the level of the modulator is changed over time, it's like a low pass filter
so at the peak of the envelope, imagine a low pass filter opens up all the way,
(exposing some imaginary extension of the original sine wave's noises (harmonics))
and when the envelope is at zero, imagine the low pass filter is all the way closed and all you get is the original sound of the carrier
changing the tuning of the modulator is kind of like going through a harmonic series,
changing the color
changing the level of the modulator is like opening and closing a low pass filter.

thinking this way should drastically simplify understanding what is happening.