NATIVE INSTRUMENTS FM8 GENERATOR
The noise generator also includes a filter, with control over Cutoff and Resonance, and they will be crucial to shape the sound. We could surely connect other Operators to it in order to saturate the sound, but in this case we would just need the noise as our sound source. Operator X is a noise generator and a saturator, and being an Operator, it has its own envelope. Now hold and drag up in the intersection between X and the Output row (first row in the lower part of the Matrix), and set the maximum value, 100. Then deactivate Operator F by right-clicking on its icon in the Matrix, and activate, in the same way, Operator X.
![native instruments fm8 native instruments fm8](https://i0.wp.com/mac-torrent-download.net/wp-content/uploads/2021/05/Native-Instruments-FM8-icon.jpg)
We won’t need it, so double-click on the number “80”, which represents its volume, basically), to delete the collection. Now that we have all the controls at their default state, in the Matrix (accessible from the Expert Tab), Operator F will be connected to the Output (the first row at the bottom of the Matrix. You can read more about FM and FM8 at the following link:Īs usual, let’s start by initializing our preset.
NATIVE INSTRUMENTS FM8 PATCH
In a previous episode, “Anatomy of a Patch 3: A Gong in FM8” we covered the basic principles of FM synthesis and the main parameters of FM8, so we will jump right to our sample, explaining just what we need.
NATIVE INSTRUMENTS FM8 HOW TO
That is the reason why we choose FM8 to explain how to make a clap, and as you will see, it is a very simple process.īefore we start, we want to point that no FM will be implemented in this patch (we will use just noise), as already mentioned, the choice of FM8 is for its Multistage Envelopes. In FM8 every envelope is Multistage, you can double-click to add a new Breakpoint, move it, create custom complex shapes, and even loop your twisted curve. Their strength is the possibility to freely add, move and shape Breakpoints. Multistage Envelopes aren’t so common – they are not unicorns, but you won’t find them in every synth or sampler. ADSR, in fact, is a particular type of envelope, like AD, or AHDSR (“H” for hold, commonly found in envelopes in many virtual instruments but by no means ubiquitous). Envelopes can be really different, depending on where you find them. Which tool can help us shaping a complex envelope and save us a lot of time? Answer: a Multistage Envelope. This last one was recorded with three persons clapping not perfectly in time.īack to our synthetic claps, we left a question unanswered. In the figures below, you can see a classic AD (Attack-Decay shape) envelope, and a real clap sample. Think of a single person clapping their hands: we won’t surely see those quick crests, but instead we will have something similar to what we can create with an ADSR envelopes. As is often the case, there is not a unique way to accomplish our mission. Well, again, we could make a single sample, then duplicate it multiple times, layer, sequence and tweak them to obtain the final sound.
![native instruments fm8 native instruments fm8](https://i.ytimg.com/vi/4-sOngmfKVM/maxresdefault.jpg)
The LFO can help, but its cycles will be the same every time, and we would need more freedom to adjust the shape of the peaks, in particular, the longer one of the tail.Ī classic ADSR envelope couldn’t really make three or four (or more) of these peaks.
![native instruments fm8 native instruments fm8](https://i.ytimg.com/vi/AL8yFPjCaBk/maxresdefault.jpg)
To make samples more quickly, we would need a more flexible modulation source. We can surely record some white noise, cut some sections, fade them, and make everything in audio, although it can be really time consuming. Now that we clarified some aspects behind claps, we can imagine how to create it: we need to shape a noise sample with a quite complex envelope. Noise can be the answer, and in our patch, it will actually be the main character. Everyone knows how a synthetic clap sounds, but has everyone ever wondered who is responsible for this sound or what is the source for this kind of samples? To better understand how close they are, check the waveform with a timeline set in seconds. The clap sample shown in figure has four peaks, four sections or elements in rapid succession (to see them properly we zoomed in), each one with a slight different decay, especially the last one, being the tail of the clap sample.