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Accompanying video for Reface DX voice "Wave Example" showing the realtime spectrum harmonic changes, as referenced in the FM Synthesis programming article on Yamahasynth.com You see the initial sawtooth wave harmonic series of all the integer harmonics (or overtones) created from Operators 1 and 2 with both Ops 1 & 2 frequency ratios of 1.00. Then as Op.2 level fades out, Operator 3 fades in set at a ratio of 2.00. The ratio of 1.00 for Op 1 and 2.00 for Op.3 creates a square wave timbre with only odd numbered integer harmonics, and the spectrogram shows the even harmonics fading out leaving just the odds. Finally, Op.3 fades out and Operator 4 fades in with a non-integer ratio of 4.77. The ratios of 1.00 for Op.1 and 4.77 for Op.4 creates non-integer overtones, and the spectrogram shows how these come in and create the non-integer (or inharmonic) overtones of a metallic/bell timbre.

Companion video for fourth article of Manny's FM-Xpert eXamples at www. YamahaSynth.com : https://www.yamahasynth.com/modx-cate... A key part of a convincing piano synthesis is emulating the effect the ineria of the keyboard mechanism has on the playing feel, as well as the correct time alignments of the noise, 'stuff' and harmonic components in the initai attack. This video covers the settings of Envelopes in the creation of these desired behaviors in the inital attack of our Harmonic Component Modeled piano sound. Additionally, shows realtime control of the envelopes to morph the sound.

Accompanying video for Reface DX voice "Wave Example" showing the realtime wave shape changes, as referenced in the FM Synthesis programming article on Yamahasynth.com You see the initial sawtooth wave shape created from Operators 1 and 2 with both Ops 1 & 2 frequency ratios of 1.00. Then as Op.2 level fades out, Operator 3 fades in set at a ratio of 2.00. The ratio of 1.00 for Op 1 and 2.00 for Op.3 creates a square wave shape. Finally, Op.3 fades out and Operator 4 fades in with a non-integer ratio of 4.77. The ratios of 1.00 for Op.1 and 4.77 for Op.4 creates non-integer overtones, and thus the wave form shows the complex shape of a metallic/bell timbre.

Emulating Yamaha Montage motion control style sounds using pure FM synthesis (no filters) on the Yamaha SY99

Yamaha SY series synthesis of true analog style Pulse Width Modulation. There's a few videos around that attempt to show how to do this with Yamaha style FM (i.e. Phase Modulation) synthesis on some soft synths but they're basically all incorrect or crude approximations. The true recreation of analog style PWM with fully controllable pulse width is acutally very simple - Modulate a Square Wave Carrier with a Sawtooth Wave Modulator that is phase shifted (offset) 90 degrees. Then the Index (modulation level) controls the width of the pulse. If Index is zero - then it's a square wave (50% pulse). In this example with the modulation level of about 114, we get a 90+% pulse wave. Since the modulation level is easily controllable by an envelope, LFO, velocity or even all three, you are able to get the classic analog synth PWM behaviors

Tutorial video for the Reface DX voice "Lead Example" as referenced in the FM synthesis programming articel series on Yamahasynth.com

Tutorial video for the Reface DX example voice "Fixed Carrier Example" as discussed in the FM synthesis programming article series "Manny's Modulation Manifesto" on Yamahasynth.com This voice demonstrates the effect of using a fixed frequency Carrier Operator set at a very low sub audio frequency value to create a unique chorus/detune/phasing effect. Note: Audio is in mono. to hear demo example of this voice in stereo see https://soundcloud.com/manny-fernande...