FM Synthesis

FM synthesis lost favour after its impressive run of success in the mid-80s, but it still has plenty to offer, as Mark Cousins explains.

In this increasingly subtractive world, it’s sometimes hard to remember there are other synthesis systems just as worthy of our attention. FM synthesis, even with its reputation for being cold, clinical and difficult to program, remains a useful contrast to the sound of analogue subtractive synthesis.

This feature first appeared in Music Tech Magazine issue 17
Filed under Ten Minute Masters

/mtm/features/fm-synthesis

New users, please register here

Please enter your details below to set up your new account. Fields marked with a red asterisk * are required.

Your name
*First name:
*Last name:
Job title:
Company:

Account settings
*Email address:
	Please make sure your email address is correct, as we will send you an email with a link to activate your account.
*Username:
	Choose a username between 7 and 100 characters in length, without spaces or unusual characters. You may use your email address as your username, but note that it may appear in community areas of the site where others can see it.
*Password:
*Confirm password:
	Choose a password between 7 and 100 characters in length, without spaces.
	Remember me on this computer

Your address and contact info
Address 1:

Town or city:
County or state:
Postcode or ZIP:
Country:
Telephone:
Fax:
Website:

	By registering to use the Music Tech website you agree to allow us to contact you with our Music Tech email newsletters featuring news, competitions, exclusive content and special offers. If you provide phone and post details we may contact you by those means as well with special offers. WE WILL NOT PASS YOUR DETAILS TO ANY THIRD PARTY. If at any time you wish to stop receiving our email newsletter, simply follow the Unsubscribe instruction on our newsletter. Contact us by email of post if you wish your post or phone details to be removed from our database.

MTM 63	10MM129 Ribbon Microphones String theory may be new, but ribbon microphones have a lasting appeal. Grant Bridgeman unties the issues...	MTM 62	10MM128 Loudness demystified Commercial recordings have undoubtedly got ‘hotter’ in recent years, but why does one recording sound louder than another? Mark Cousins seeks an explanation...
MTM 62	10MM127 DI Boxes A DI box can be your saviour during a problematic gig or recording session. Grant Bridgeman sizes them up...	MTM 59	10MM 122 Preamps Used on a daily basis in studios around the world, the mic preamp is a vital link in the recording chain. Mark Cousins amps it up.
MTM 59	10MM 121 The Mellotron The future of sampling may be digital, but with the revival of the Mellotron, tape sampling is back. Grant Bridgeman revisits an iconic instrument.	MTM 58	10MM120 Wah-wah Loved by generations of guitarists, the wah-wah pedal has a voice all of its own. Mark Cousins is speechless...
MTM 58	10MM119: Boundary Layer Microphones Also known as PZM microphones, boundary mics offer a number of benefits over more conventional designs in some recording scenarios. Grant Bridgeman remains unphased...	MTM 57	10MM 118 Mixer Routing Mixers come in all shapes and sizes, but their common task is to route audio. Mark Cousins finds his destination...

Sign in to download this article

New users, please register here

See also...

Menu