First: example of overtune FM stuff (because that’s what I use momentarily) (warning: half of VoS vst fx was used in this demo )
Short explanation of the formulas (for basic working of Overtune, check my page)
Instrument 1 is a FM sample with a pretty simple formula; it sounds like a sorta electric piano thing on one track, then more like a synth on another track. Bet that another DSP chain would make a pad-like sound out of it. When I was satisfied with the sample I’ve widened/detuned it using AwesomeSawce (Per.5ths)
- basic form for this FM is
``` a = mod amount, b = modulator ratio
- then I give the modulators a slight phase difference (it's often handy to turn on autofade when you do this):
- the C gives a 0 for left channel, 1 for right channel. so bi(C) gives -1 for left channel and 1 for right channel.
- because I use non-integers for some values of the b's (b1 b2 etc) I have to use XX instead of X, and the 'time #' value in overtune has to be a multiple of 2 (in this case that is: because I use values of 1.5, 2.5, for the b's)
[b]Instrument 2[/b] is a oneshot FM sample that is used for a bell type sound (used together with dblue's tuned Phaser which I like to call a resonator, and epicVerb)
- programmed slightly different, here the modulators are transposed by Per.4ths as by
- I've set it to render basenote A-3 instead of the default A-0 because 512 for 'Time #' takes way too long otherwise (turning resolution down)
- in this case, the 2 modulating operators
- Then the final waveform also gets a 'slow' decay using "anti-ramp-down" aka ard(T,p)
[b]Instrument 3[/b] is a combination of two crazy FM samples/formulas, a subosc and a squarewave. It makes up the bass in the last, looping, pattern.
- Just two FM formulas I stuck together, don't know which chain I used it on back then
- Anyway know that the subosc is, as I guess is expected, a sine osc transposed -12
- Only samples 3&4 loop, envelope fixes the amp'ing.
- Check it out on another track to hear what it sounds like without a km long FX chain