2-Operator Analog FM Synthesis | First Step 17
MAKE THIS CONNECTION
We could patch the ENV OUT directly to the CV IN of our attenuator, but by running
the envelope itself through its own attenuator we can have even more control over the
depth of FM.
The rst attenuator sets the starting FM depth and the second sets the max FM depth.
With the rst attenuator at zero (noon) and the second all the way up we get tones
that start with no FM, grow to full FM over the course of the envelope, and return back
to no FM. With the rst attenuator at maximum and the second all the way counter-
clockwise (inverting the envelope) we get the opposite: tones that start with full FM,
reduce to no FM at the height of the envelope, and grow back to full FM as the envelope
decays. By playing with these two attenuators, the amplitude envelope parameters, and
Oscillator 2’s octave and detuning, we have an incredibly wide range of metallic, bright,
clangorous, and buzzy sounds that change over time—perfect for feeding Matriarch’s
stereo lter and delay.
To Next Page
Loading...
