Algorithms and their effects

[zhora]

They are essentially routing presets and on more contemporary FM implementations have been superseeded by the ability to freely route operators.

[LyingDalai]

@polysix It seems this thread might be a good place for discussing Digitone algorithms

Here are some other:

Digitone algorithm 5 clarification

Hey, getting familiar with all the algorithms on the digitone, and noticed some ambiguity with algorithm 5’s diagram - is b1 modulating b2, is b2 modulating b1, or are they both modulating each other? Just curious, since the diagrams in the manual dont show direction of modulation so its unclear. Ty

Algorithms 6 and 7

So, just got a Digitone, and trying to work out uniqueness of combinations embedded in the algorithms. Everything seems pretty cool, until I cam across: Algorithm 6 (i) now, I wonder about the ‘cross’ there - is it indicative of envelope operation, or of 2 carriers each in the X and Y ‘carrier streams’? Algorithm 7 - what does it mean when the envelope indicator ( full line) goes all the way to X and Y ( (The sound)? Furthermore, in the Y-stream, there is no sound output indicator (dotted li…

[polysix]

Thank you very much! These are great links! Very informative and helpful. I’m looking for explanations (if that’s even possible with FM) of which algorithm, for example, is best used for pads where I think parallel ones are best. So, which algorithm is best for drums, which one is best for a bass, or which ones are good for noisy stuff. Which one is best for a trumpet … but I think I also need to change my “thinking” and approach it differently.

[PeterHanes]

@polysix

I’m looking for explanations (if that’s even possible with FM) of which algorithm, for example, is best used for pads where I think parallel ones are best. So, which algorithm is best for drums, which one is best for a bass, or which ones are good for noisy stuff. Which one is best for a trumpet … but I think I also need to change my “thinking” and approach it differently.

The previous posts in this topic are hinting that there really is no particular relation between the algorithm chosen and the resulting instrument timbre.

This post: Algorithms and their effects - #3 by RobertSyrett provides the best explanation of the differences between the algorithms, because it describes the various modulation paths for each type of algorithm. Each algorithm has two audio output signals (X and Y) which may or may not be controlled by the operator envelope.

So the two outputs can be used to provide two separate elements for a sound. They could provide the tonal and atonal partials of a pad sound, or the initial attack and the sustained portion of a percussion sound, for example. Bass and noisy sounds should be easy to produce using any algorithm.

The actual timbre of any element of a sound is determined by the FM parameters (and the subsequent overdrive and filtering). Time variance is controlled by envelopes and LFOs. This is described in Appendix B of the DN’s manual.

If you want to learn how to make a particular sound, there are many, many tutorials on FM synthesis, most of which are generally applicable to the DN. A little searching on the forum will help you get started. For example, here’s a post that links to an online resource that shows how to recreate the sound of acoustic instruments based on knowledge of their timbre: Book recommendations for learning FM Synthesis - #7 by mickeyziggyk

If I understand correctly from your other posts, you have a DN so it would be a useful exercise to select a preset sound and study how the interactions between the four operators affect the timbre.

[polysix]

Great! Thanks for your detailed explanation, it’s really helped me. And the PDF about FM is fantastic. Thank you very much!

[curiouspassenger]

I wonder why there is no algorithm where the carrier is modulated by A, B1 and B2 in parallel.

[SoundRider]

If greater flexibility is required and a higher level of FM complexity is acceptable, we need to look elsewhere… for example, at FM synthesizers from Yamaha or Korg (hardware) or others such as the NI FM-8, where we can define the algorithms almost at will.

[curiouspassenger]

The thing is, I’m more than happy with the FM synthesis paradigm the Digitone provides. It’s easy, fast and fun. I just miss a couple of things really. Using external synths would make my workflow much more complicated. It’s not worth it. I prefer to do everything in da box.