![]() ![]() Destinations include modulation of individual operator parameters, global filters and effects, or cross-modulation of other modulators.Įach modulation routing can also be assigned a secondary control source for adjusting the depth via inputs such as the mod wheel, a control pedal, velocity, key tracking or another internal modulator.Ĭompared to subtractive synthesis, FM is an inherently complicated process and can be considerably more fiddly to program. ![]() Global modulation, meanwhile, is provided by three ADSR envelopes and three LFOs, each of which can be assigned to a broad range of destinations via the 12-slot patchbay. Ring Mod, on the other hand, works by multiplying the carrier and modulator signals to produce a new frequency, creating results that are often weirder and more metallic than FM. There are five varieties here: standard FM, Ring Mod, Filter, Filter FM and Wavefolder.Īs with classic FM synths, in standard FM mode, the modulators are used to vary the pitch of the carrier operators. The highlight here though is opsix’s range of operator modes that alter the relationship between carrier and modulator, and go well beyond the standard pitch modulation of straightforward FM synths. While opsix is hardly the first synth to do this – plugins such as Ableton Operator go further with additive wave editors – it still expands the sonic scope considerably. Additionally, whereas classic DX7-style FM uses simple sine waves for each operator, opsix offers a range of 21 shapes including classic virtual analogue waves with 12-bit, 8-bit and HD variations, several additive waves and two noise sources.
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