this is a dedicated FM synthesis tutorial for Dexed users using Dexed
I will show you how you can create a new and improved dx7 tube bell sounds we
will cover the overview of the DX7 Tube bells then we will develop a plan of
attack and make improvements you can watch the Power DX7 FM
synthesis tutorial for Tub Bells to learn more about the sound design of
tube bells for downloading and installing Dexed go to this website and
download your own copy of Dexed I also include a link in the description of
this video you can watch my Dexed tutorial video for installing and
comparing to the original dx7 mark 1
let's revise what we know about the Tub Bell's patch it uses algorithm 5 which
has three towers. frequency of towers one and two have the same bell in harmonic content.
Detune for towers 1 & 2 are opposite giving a smooth chorusing effect.
Envelopes for towers 1 & 2 are the same having single decay type envelopes.
tower three is used for attack. keyboard scaling is applied slightly to all
operators. Output levels are adequate producing enough modulation at maximum
volume. key velocity sensitivity is applied only to operate 5 controlling
the volume of attack we want a new dx7 Tub bells that is far more expressive
having solid attack and a decay with smooth coursing. we will make a simple
improvement first. we will adjust envelopes to get sharper attack. move a
mouse over each envelope knob for each operator to see how each envelope is set.
the tub bell sounds has fast attack rate and it's volume and modulation is done
at L1. it has a slow decay rate for the bell tone. R3 and
L3 are redundant it has slow release for the bell tone.
Tower 3 with operators 5 & 6 have faster overall envelopes
hence produce attack tone only. let's visualise the
tub bells envelope. ignoring Rate 3 and Level 3, the original envelope is
simple as it has only 1 decay by R2 and L2.
the problem with this type of envelope is that an initial sharp and solid
attack is not emulated. as attack on the decay is the same using R1
and L1 only. remember from the tutorial sound design - bells part 2?
the dx7 has flexible envelopes as you can use both R2 and L2 as
well as R3 and L3 as decay. this means that we can create sharp and
solid attack using both R1 & L1 and R2 & L2. we can
visualize the new envelopes. R1 & L1 remains the same but R2
- will have faster decay to create initial solid metallic attack. L2
will be higher than 0 so that you have enough modulation for metallic
attack and slow decay. R3 will be less than 71 to create slow decay. As there
will be no sustain L 3 will be 0.
Our aim is to make the tub bells with sharp and solid attack.
so we will only
focus on operators 1 2 3 & 4 for editing. so which rate and level do we need change
we don't need to change R1, L1 and R4, L4, so our focus is, were 1 and right forever for so all 4
is R2, L2 and R3 & L3. let's get started we only
need to change operators one two three and four we can switch off operators
five and six we can also start on operate as one and two so turn operators
three and four off
we will start with operate one. Select operator one and R2. R2 is
33 which is slow decay. we will keep it as is at the moment. for L2
change it to a higher value try from 95 90 85 and 80
at the moment it almost sounds like a gate effect. R3 it's too fast so it
has very fast decay the reason why you need to have a L2 lower than L1
is that if L2 equals L1, which could be 99 you have
L1 & level 2 acting as single attack. so set level to 95 as you
only need a bit of attack
now we will change R3 to slow decay from fifty thirty twenty
and ten
based on what we hear R3 equal 30 seems just right
set the L3 equal zero so there is no sustain at level three
this means that the overall decay stops at level three
now we are moving on to operator 2 when you look at R2 which is 12
it has very slow decay. for sharp attack you need to have fast decay try from 20 30 40 50 60
and 70
what will happen as you noticed the faster the decay rate is the shorter the
envelope becomes at R2 it's 70 it's just a percussive sound set late to 60
as it has good attack
Change L2 to a higher value try 95 90 85 and 80
remember, you need to have L2 lower than level 1 to have an attack and decay what will
happen to the sound
it almost sounds like a gate effect as R3 is too fast we will set level 2
at 95 as we only need a bit of attack but still need a higher frequency
modulation level for decay
you
we will change R3 to slower decay try 50 30 20 and 10 what will happen
based on what we hear R3 should be ten we will set the level three to
zero so there is no sustain
now we copy new envelopes to operator three and four for Dexed you basically
move a mouse to the envelope section and the right click to bring a contextual
menu select the copy operator values and choose the operator that you want to
copy the envelope to right click an envelope section and select paste
envelope values to copy envelope data so copy operator one envelope to operator
3 copy operator 2 envelope to operator four
once completed operator one and three have the same envelope operators 2 and
4 have the same envelope but you will notice that over all sound is softer
despite having sharper attack
let's revise what we've done so far we made a change to envelope to provide a
sharper attack by using the flexible envelope generator we use EG copy
function to copy envelopes the overall tone becomes softer so what do we need
to make the sound brighter again
we can make changes to moderator output levels so what happened was that when we
change modulator envelopes they reach to level two quickly as L2 is 95
there is a slight decrease in frequency modulation output level yes
modulation level is controlled by those envelopes and output levels this means
that we can control the amount of moderation applied to operators 2 & 4 by
adjusting their output levels accordingly move a mouse over output
level to check operators 1 2 3 & 4
we will only adjust output level for operators two and four
we will add one value for both operators at a time
by adding 4 to both operators you get the identical modulation level of the
original sound one thing that you need to be very careful about is that output
level is very sensitive to changes above 70 if you add 10 to these operators you
will have too much frequency modulation
turn all operators and play the new tube bells
in the tutorial Tub Bells improvement part 1 we made simple changes to
envelope for giving sharp attack for part 2 applying the algorithm
interchangeability we will aim to create another tub bells with sharp attack we
will use the tube bell patch from part one so where do we start we will start
from algorithm then work through other priority parameters so what we've
learned about algorithm interchangeability remember from the
tutorial algorithm beyond group's I talked about the stacking and the
branching combination Group three they include algorithm 5 6 7 8 9 12 and 13
they have a common structure as the basic positions and the modulation of
operators 1 2 3 & 4 remain the same but the position and the roles of operators
5 & 6 are different we want to create a sharp attack sound this usually involves
in introducing additional harmonics in harmonics so what do we need like the
original tub bells we need two towers for bell inharmonic chorusing then we
need one operator for a hammer tone and another operator for an additional
sharp attack tone as you will notice this is still that divide and conquer
approach basically you assign each operator to create specific harmonics
and inharmonics
when we look at algorithms seven eight and nine they all have a three operator
starting with operator three five six when you have a tower with three operator
stacking you can create higher harmonic moderation for this exercise as we are
not necessarily looking at producing such high harmonic tones we can
eliminate using algorithms seven eight nine now we will look into the other
algorithms twelve and thirteen they all have a two operator stacking as a
maximum operators five and six are both modulators and the directory linked to
operator three which is a carrier so based on our understanding
how do we decide which one to use compare algorithms five against
algorithms twelve and thirteen tower one with operators 1 and 2 remain the
same tower 2 with operators three and the four remains the same but operators
five and six are different my choice for algorithm for this
exercise is thirteen use operators five and six as modulators that are directly
linked to operator three we will use operator five for hammertone we really
use obey the six for attack with additional harmonics using its feedback
loop
select algorithm 13 after completed when you press a key it has too much
modulation as operators 5 & 6 output levels are set at 99 and 85 so what
happened we basically increased the number of
modulators now it's four instead of three moderators and three carriers with
algorithm 5 this means that you have a more flexibility in FM sound design
now what we want to do is to create a sharper attack tone so we will only
focus on operators 5 & 6 for editing you can turn no operators 5 & 6 only by
using operators on/off button and don't forget to turn on operator 3 as it is a
carrier for operators 5 & 6 otherwise you don't hear any sound
now we will look into frequency you can turn off operator six but make sure to
keep operator three on as you recall operator five users fixed frequency at
three hundred twenty three point six Hertz producing a hammer like tone
for additional in harmonic tone
as a general rule fixed frequency around 100 to 200
Hertz emulates hammer tone better at above 300 Hz there's too much in
harmonic tones so we will change that to around 150 Hertz adjust frequency to
158.5 Hz
now we can work on operate six by turning off operator five and put operator six on
we can adjust the ratio by going up from 2.00
note that you may not be able to hear the modulation of operator six clearly
it seems that it has very short decay we can go to the envelope generator to
check both operators five and six
turn on operator five and check both operators five and six envelopes
for operator five we will change rate one as it is slower than that of
operator six because we want to emulate the Hammer tone we will have fast attack by
increasing rate one to 98
now we look at operator six R2 has fast decay as it is 91 this is too fast
for producing a metric attack so we will reduce rate 2 by about ten
increments so try 80 70 60 50 40 30 etc we also want to retain the original tub
bells tonal characteristics
based on these settings we will set R2 to 60 which is an optimal level between
having sharp attack and retaining the original tonal characteristics
so once we've got the envelope right we go back to operator six ratio now you
can turn on operators four and five so you can hear how operator six modulation
affect overall tub bells sound remember that the your goal is to find the ratio
that gives you the sharpest attack tone
the easiest way to find a sweet spot is to use the multiple of the underlying
ratio that you want to improve in this example we have a ratio of 3.50
with operator 4 to generate Bell inharmonics so you can try ratio
of 7.00 if you set operator six with other ratios you will
notice it produces additional harmonics and make the overall sound too
harmonic rich and it basically loses its sharp bell inharmonic tones
once completed let's listen to the sound by turning on all operators
we can summarize what we've done so far we changed the algorithm from 5 to 13 we
changed the operators 5 fixed frequency 323.6 Hertz
to 158.50 Hz We changed operator 5 R1 from 76 to 98 we changed operators 6 envelope
generator R2 from 91 to 60 we change the operator 6 frequency ratio from
2.00 to 7.00 so what else do we need to do we
know that operators five and six are producing too much modulation what is
the next step we will adjust output levels of operators five and six select
operator five turn off operators four and six to hear the output of operator
five only and make sure to have operator three on at the moment operator five
output level is 90 now lower it by about ten increments to see what will
happen
we can comfortably set it between eighty to ninety for hammer type inharmonics
let's set it to 90 now we will change operator six operator six output level
is 85 if you are introducing a metallic tone if you set output level high 70 or
more then you will produce too much modulation the sound gets distorted and
it loses its sharpness we will reduce output level by about 10 increments and
carefully listen to how it effects the sound let's listen to the sound from
85 75 and 65
at 65 it's moderation is significantly reduced
as we have underlined metallic tone from operated four at 3.50 we will keep it at
65
so we've achieved a lot in this tutorial let's revise what we've done by changing
algorithm using the algorithm interchangeability we created an
additional moderator which gave us more flexibility in FM sound design we
changed fixed frequency and frequency ratio to generate a hammer tone and sharp
attack we changed envelope decay to get a right balance between sharp attack and
additional harmonics we changed the output level to get a light balance over
modulation from each operator but where is expressiveness we need adjust the
keyboard velocity sensitivity to give a better expression
we know that the original tub bells patch is a bit lifeless as keyboard
velocity sensitivity is only applied to operator five
so we need to set the sensitivity so that when you play soft it sounds soft
with less harmonics and in harmonics when you play harder it's sharp attack
becomes prominent and the overall sound becomes rich harmonics and in
harmonics so how would you set it we need to think about the relationship
between carriers and moderators this means that set key velocity
sensitivity of modulators higher than that of carriers for great harmonic
content dynamics I'm showing this table as an example of how I will set Key velocity
sensitivity note that operators 1 & 3 have less sensitivity than operators 2 4
5 & 6 this means that when you play soft
modulators produce significantly less modulation
hence the sound becomes very soft as operator 5 is set at 3 when you played
soft you will still hear soft homophone hitting a tube bell
finally we've made the tub bell sound with an expressive sharp and solid attack
tone and harmonic richer overall sound
Once completed let's listen to the overall sound by turning all operators
let's compare it to the original dx7 tub bells on the dx7 mark 1 let's compare it
to the new tub bells on the dx7 mark 1
can you hear differences between Dexed and the DX7 mark 1 what we did on Dexed was
to create the same tub bells patch the differences you hear from how dexed
emulates the DX 7 FM synthesis although close in some patches there are
definitely differences which become more obvious once you start make your own
patches there is another improvement that we can make to the new tube bells sound
so by combining the algorithm interchangeability and envelopes this
new tub bells have a very prominent sharp and solid attack but it may be too much
because we introduced a sharp attack tone by changing envelopes the roll of
operator 6 can be changed let's think about what we can use operator 6 for we
can still use it as part of attack or we can use it to introduce additional
harmonics and inharmonics
so for this exercise we will use operator six for introducing additional
harmonics and inharmonics we've already determined that operator six frequency
ratio should be 7.00 to give sharp attack so we will keep it as
but what we will do is instead of just having a sharp attack tone operator
six will be used just like operators two and four by generating a bell tone we
will copy operator 2 envelope to operator 6 first copy operator to envelope to
operate a six once completed press a key and listen to the sound
what happened it seems there's too much detune going on you will notice that
operator six is set to -7 we need turn on operators 1 2 3 & 4 & 5 you will not
hear the vibrato
but when you turn operator six then you hear the vibrato detune for
operator six is too high so we will reduce it gradually
-2 seems seems to be a sweet spot so we will set it to -2
let's play the new two bells if you have the DX7 mark one you can compare the
identical patch again you will notice differences we changed the algorithm by
applying the algorithm interchangeability to create an
additional moderator which gave us more flexibility and options in FM sound
design we changed fixed frequency and frequency ratio to generate a homophone
and sharp attack as well as additional harmonics we changed the envelopes to
get right balance between sharp attack and additional harmonics we changed the
output level to get the right balance of modulation from each modulator
we changed key velocity sensitivity to create a sound with a greater
expressiveness I've applied many years of my painful experience with the DX7
FM synthesis to create these tutorials so you're learning proven practical and
hands-on approaches to tackle the often misunderstood FM synthesis you've
actually learned how I approach the FM synthesis sound design from the
beginning to the end you've learned to analyse the sound using the FM synthesis
think and plan improvement ideas make improvements using the dx7 envelope
generator algorithm interchangeability and other priority parameters
you've learnt to make changes and adjustments by going back and forth between
interrelated Prouty parameters you've actually made three different tub bells
patches by exploring different possibilities and combining various
techniques at the end you now have the best foundation to learn and tackle the
one of the best and challenging synthesis method the FM synthesis so
congratulation to you all
For more infomation >> Baby Coloring book and drawing for Kids | Youtube videos for kids #63 - Duration: 10:09. 
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