you’re too kind, Sir
Little nugget - especially if tinkering with FM and seeking clean modulator signals
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Keep the absolute Depth amount below 64 if you want to retain the classical shape of your LFO. At depths above 64 the LFO ‘shape’ grows but is clipped - there is no depth above 64, just shape changing below. Won’t matter on a pulse (so a pulse at 64 or higher depth sounds the same). Haven’t dug enough, but i guess this means a random LFO when higher than 64 (say set to max) will clip half the time and therefore be less random !
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Here’s a clip of linear FM on the A4.
All A4 voices here. You’ll hear the FM come in after 11 to 14 seconds.
This is from one of the tunes I wrote first with A4 nearly a year ago. This OS update is finishing the track for me.
The FM feature is just awesome. I can now get DSI Evolver like sounds from the A4.
Here is a little test snippet I came up with just messing around with the feature today. One patch using the FM feature and some drums.
Can somebody explain me what to do with the LFOs synced to 120 bpm?
It just means that the LFOs won’t be affected by tempo changes, which was the case until now. With that mode the LFOs remain at the speed you set them no matter what BPM the clock is running at.
A healthy mix of FM, AM, sync on an external source (at low gain settings!) is pretty mental. Getting some fantastic squelches out of my MASF OSC03 noise box.
Can anyone post some more examples of what FM on the A4 is capable of? I want to hear some huge unison sounds, punchy basses, and aggressive leads.
So far I’ve only been able to get gritty/rough fm sounds out of it. Maybe I can’t figure it out, but it does not seem to be able to get you clean FM for the punchy basses.
So far I’ve only been able to get gritty/rough fm sounds out of it. Maybe I can’t figure it out, but it does not seem to be able to get you clean FM for the punchy basses.[/quote]
If it sounds too dirty, turn the OSC levels down and play with the pitch. But yeah, good luck reproducing LatelyBass on the A4.
cleanest sounds are by FMing Filter 2 with high res.
Use sin as the LFO shape, and use ENV2 to modulate LFO destination parameter.
It would be awesome of someone made a little tutorial video…
But that’s simply modulating the filter at audio rate, it’s not what people have in mind when you talk about FM synthesis… I will play a bit more with levels but I don’t think the A4 is able to produce a clean FM sound. Even the LFO tuning is not super tight.
But that’s simply modulating the filter at audio rate, it’s not what people have in mind when you talk about FM synthesis… I will play a bit more with levels but I don’t think the A4 is able to produce a clean FM sound. Even the LFO tuning is not super tight.[/quote]
If the resonance is high enough on filter 2 it self-oscillates, producing a sin wave.
But that’s simply modulating the filter at audio rate, it’s not what people have in mind when you talk about FM synthesis… I will play a bit more with levels but I don’t think the A4 is able to produce a clean FM sound. Even the LFO tuning is not super tight.[/quote]
He’s referring to using the resonating filter keytracked as the oscillator
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Wrt tight tuning : you don’t need to use lfo1 to modulate Osc1, even though they are linked
You can use lfo 2 to FM osc1 and then you can fine tune to your heart’s content (by tuning a muted osc2) !!
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Explore the options available 
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But that’s simply modulating the filter at audio rate, it’s not what people have in mind when you talk about FM synthesis… I will play a bit more with levels but I don’t think the A4 is able to produce a clean FM sound. Even the LFO tuning is not super tight.[/quote]
Also go with a sine LFO wave type on your operator LFO for clean linear FM.
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it’s still exponential FM, but if you set the filter tracking at 32 you can play the filter chromatically and keep the harmonic relationship using the tunable LFOs.
I was using this for most of my bass sounds but now I can play the sounds over a couple of octaves while before I had to p-lock the LFO speed per step.
I think the bigger limitation for cleaner sounds is the low resolution of the LFO output, which gets very crappy when higher than the 512x setting. My guess is that this is due to low res DACs used for LFO outputs and there may not be a way to improve it (?)
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Well, when you guys get it all sorted out, post them demos. I imagine some pretty wild lead and bass sounds can be made with this new feature. Everything I’ve been hearing so far has been more percussive and textural soundscape like stuff.
some smooth FM sounds. Definitely a lot of sweep spots to discover. I’m getting a lot of internal clippings though, need to figure out what is causing them.
Thanks for the demo; sounds cool
Guys, on the video from sonic state I see FM1 and FM2 in destinations of LFOs but I can’t found that in the destinations list. Release notes pdf says: “Three LFO destinations have been added: FM1, FM2, and FMX. These added linear frequency to the oscillators, either individually using FM1/FM2, or to both at once using FMX.”
But I see only several OSCX: xxx parameters. Is it normal?