Lessons
Course Introduction
04:57 2The FM Concept
09:50 3Operator Fundamentals
10:16 4FM Pro Tips
11:14 5Classic Subtractive Techniques
08:15 6FM Monophonic Bass
11:32 7FM Polyphonic Leads
18:49 8Drum and Percussion Overview
11:26Lesson Info
Crossfades and Aftertouch
Hey, one other really, really wicked advanced modulation in this first lesson that I want to make sure I cover. It's gonna go a really long way. And the creative realm here is utilizing some specialty targets In addition to the standard outputs of the LFO. An envelope specialty meaning things that you can Onley access from inside of this list in particular LFO cross fade I'm part of the oscillator cross fade oscillator feedback is another really fun one to modulate Cross fade up Here goes a long way in to show this off. I'm actually gonna make a brand new patch. I don't think I can. I think we've got enough beautiful modulation happening with this lead in this polly lead. So what I'm gonna do is I'm gonna just create a new patch for us, starting with the sine wave. This would be a cool chance to do some review. Start with a nice sign kicked my carrier one up to a lower frequency. Now I'm gonna actually to demonstrate this cross fade. This is a great chance to conceptually learn somethi...
ng if we have our our operators all in pure Siri's. Oh, uh, if we have them in pure Siri's and we cross fade between two of them. When this one turns down, this one turns up, but it's not doing anything that's modulated in serious being. When this is down, this could turn up all day, but nothing happens. So in order for LFO, cross fade to actually working, let's try parallel modulator set. So in particular, this one is going to be the most straightforward Because you're just not You're just cross fading between to modulate kick this one up to maybe seven. Uh huh. What I'm gonna do is I'm gonna take this LFO turn it on, turn it off to the US leader pitch and go street tow us leader Cross fade. I'm gonna do be indeed. Why? Because of my cross fade with a that's going to my carrier. That's not gonna work. You want be? Indeed, this is a better algorithm, for this is a better option for the FM algorithms that are available. So no, I take this and turn it up and hold a note down. Modulate between 7.3. This is a great, great function, A lot different kinds of cool, kind of growling and soaring kind of sounds. Ah, especially when you maybe I'd give it a slow attack like some second order modulation, uh, building. Speed it up because it doesn't kick in the o. Remember, watch closely these time, fields because this is 20 milliseconds and this is 20 seconds. It's kind of like a wobble, but it's not your filter. So what could be really cool is if we try this with different wave forms. Let's try this with a square with Yeah, increase the depth. We're gonna get full modulation. Once this thing kicks up that square way, it's gonna be completely turning on. Nice on. So I really like this one. This is a really fun when also to try some second order modulation, Teoh. So let's just give this a little bit of a curve. Maybe even loop are envelope like we did before to make this like a complex LFO, and we're gonna go ahead and run it straight into our telephone read way, way way could turn out. We could go toe overall FM drive as well, maybe trying back that off a little bit, maybe tinker with that to give it even more sensual. Uh, I think pretty gnarly. Turn these things back and remember, you can always attenuate some overtones from your square with ah really getting area. But you get a chance to really see how that cross fade really works. I think it's It's a really great parameter for making growly stuff as well as making just kind of soaring. Nice, smooth stuff. Um, a quick note about looping envelopes. You'll notice that I put this in loop mode. There's also beat or sink mode, which are synchronized. So instead of just a straight millisecond variable, you can have clocking variables based on your host clock. The only difference between beat and sink is that sync is locked to the downbeat. So you're kind of like actually phase aligning the LFO with the global clock, whereas Blue Beat is just playing at that rate with an arbitrary start time. So if you want to get the LFO two actually swing to the tempo and actually stay, phase the land with the downbeat here and one you sink. Otherwise, this beat mode is going to be a little more loose and off the grid, but still to tempo. Just a little side note about looping envelopes. So this is another cool kind of aggressive base or lead patch that could be used for a lot of different things that stride up higher. Okay, so you get a nice, different Tambor shift when you go up in the higher registers and I wonder what it would even sound if we rolled some off. Ah, was slow Attack pluck is great for these metallic sounds with slow attack is great for these. Uh, yeah. So we've got a really complex set of sounds and it's just really primarily our operators and some second order modulation evoking those interesting Tambor's top it all, uh, anything that we're gonna want to play with the keyboard we're gonna want to address How are keyboard interacts with that sound itself with percussive sounds? We've already done a lot of velocity sensitivity to FM drive, and, um, we could even do lfo radar LFO depth or pitch envelope amount. Is there all things you can re trigger with velocity? Every time a Midi notes strikes, there's a specific velocity and a range of 0 to 1 27 that is associated with that note. But what about for sustaining sounds show you something that I really love. Go ahead and throw a clip in here. In fact, I was gonna drag my poly lead court over. Now, in the global section, I'm gonna go to after touch. No, If you don't have a push, you can program this manually. Otherwise, if you do, you could just do this with your hands. I'll show you how to program it manually. So I'm gonna go after touching. I'm gonna goto FM drive, and I'm also gonna goto lfo amount. This is gonna be really fun. So at this point, with a zero after touch will have a sine wave with no modulation. As we increase after touch, we're gonna get a more more animation as well as more overtones. It's gonna be pretty thick. So now toe call up after touch. Here's the trick. You go in here and instead of ta going a particular specific target in your operator mixer, go to Midi Control and after touches, also known as channel pressure. In this context, so five channel pressure all the way. Theo Theo way really get Albarado. You get operatic by using these after touch functions during sustained. Remember, if it's a re triggered note like a velocity sensitive note, usually arming a percussive note. I usually like using velocity, but after touches awesome for dynamic messages that sustained over time Um, remember, not only can you do FM drive or LFO amplitude, you can also try cross fading depth. You can try oscillator feedback that could be a really fun one to etcetera. So these are all real cool parameters to monkey with. I highly encourage you to explore them on, um, hit us up if you have any thoughts or feedback or ideas you want to share to make these patches even more wild. Um, we're at slam academy dot com and I'm again JP So does email me here, and I look forward to hearing from you. Thanks a lot.
Ratings and Reviews
a Creativelive Student
People complain about Abletons "uninspiring" synth presets, and Operators businesslike interface doesn't scream "fun". It is however, an insanely fun and powerful instrument once you get your head around it. This class is perfectly formulated to turn anyone into an FM super-ninja in no time. It starts with the basics - perfectly explained, and delves deeper at a nice pace. I've been using Operator for years but still picked up a few tips in the later lessons. Taking this class will empower you to stop worrying about having the latest, greatest third party VST. Operator is a beastly synth. I rarely use any other synth because of the sheer sonic capability, and tight integration with Live.
a Creativelive Student
Kevin Yang
Student Work
Related Classes
Ableton Live