Switch PARAPHONY to 1 for now while
we build our rst 2-operator FM voice.
Given how harmonically rich FM
synthesis is, sine waves are often used.
We potentially have three sine wave
oscillators at our disposal: the modulation
oscillator and both lters self-resonating.
Triangle waves work well, and using the
oscillator bank makes things cleaner and
more exible. So, let’s now switch all four
OSCILLATORS to triangle waves.
2-Operator Analog FM Synthesis | 14
2-Operator Analog
FM Synthesis
FM synthesis sits next to subtractive
analog synthesis as one of the major
synthesis methods available today. While
FM exploded in the 1980s by harnessing
the power of digital technology available
at the time, the core concept of FM
synthesis—frequency modulation—has
been possible all the way back to the
vintage Moog systems of the 1960s. With
Matriarch we can create deep and exible
FM patches for a world of sounds not
typically available on analog subtractive
synthesizers.
Let’s return to the initialized patch
from the beginning of this guide as
a starting point. We’re going to use
the oscillator bank as our source of
carrier and modulation oscillators,
allowing us to turn Matriarch into a
2 - o p e r a t o r F M s y n t h w i t h t w o v o i c e s .
Now that we have a handle on how to use attenuators and mults to
deepen our patches, let’s realize a different goal: FM synthesis.
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