FM synths have a reputation for being difficult to use and sonically 'cold'. Frequency modulation synthesis is a sound design technique that many producers steer clear of in favour of the familiarity, warmth and ease-of-use of subtractive analogue instruments. With so many excellent ‘post-DX’ FM synths now peppering the plugin landscape, though, it’s time to look beyond the historic assumptions and try one for yourself. Here are five of the best.
Arturia DX7 V
Back in the 80s, Yamaha’s DX7 changed the synthesis landscape forever with its bright, punchy digital basses, bells and keys, and sold in huge numbers, despite being a nightmare to actually program. Arturia’s exacting emulation puts the full DX7 feature set on your Mac or PC, adds to it in several areas and makes the whole thing refreshingly friendly and easy to use with its pared-back ‘basic’ interface, which places four preset-specific macros on the ‘Data Entry’ sliders, and lets you step or scroll through all 32 original DX7 FM algorithms. You’ll get plenty of mileage out of DX7 V right there, but when you want to go deep, the Advanced panel lays bare the six operators (each one featuring its own multimode filter and feedback circuit, and a whopping 25 waveforms – 24 more than the solitary sine wave of the original synth), modulation system (envelopes, LFOs and a step sequencer), effects and more. And, of course, all the presets of the real thing are included in the factory library, so you can live out those Jan Hammer fantasies with full sonic authenticity.
u-he Bazille
Expanding greatly on their joyfully inclusive ACE (Any Cable Everywhere) virtual analogue, u-he’s semi-modular behemoth features four digital oscillators, each geared up for simultaneous phase distortion (PD), FM and – crikey – Fractal Resonance synthesis. The last of these is roughly analogous to oscillator sync and sounds awesome, and PD is even more empowering, but it’s the FM that we’re most interested in here, of course, and the implementation of it is admirably straightforward. Presented as ‘Phase Modulation’, DX-style, it features seven FM/PM modes (‘regular’, ‘linear’ and ‘relative’) and lets you use whatever waveforms you like (not just sines again); and when the four self-oscillating filters are brought into play, you’re looking at a riotous eight operators.
With its versatile oscillators, stunning modelled filters, comprehensive general modulation setup and excellent onboard effects, Bazille is unarguably one of the tastiest FM/PM synths money can buy. And the fact that it makes the technique so easy to get into is the icing on the cake.
Ableton Operator
The instrument that introduced countless Ableton Live users to FM synthesis, Operator has been around for – we can hardly believe it – 16 years now, but really hasn’t lost any of its charm and appeal in all that time. It’s actually something of a hybrid instrument, as although the main thrust is 4-op FM, with 11 preset algorithms defining a range of effective routings, the four oscillators can be deployed in parallel for subtractive analogue tones, and there’s even an additive angle, with the partial editor enabling the creation of custom waveforms. Copious modulation options bring your patches to life, and the embedded integration with Live makes capturing real-time performance moves as clip and track automation effortless.
Operator is a true workhorse, delivering everything from basses and leads to pads, keys and percussion with aplomb, and while, sonically, it isn’t the most spectacular synth in our list, its immediacy and approachability are second to none.
Native Instruments FM8
Probably the best-known FM soft synth of all, the 6-op (plus noise operator) sequel to NI’s original DX7 emulation, FM7, has become a classic in its own right since launching in 2007.
FM8’s visually drab interface at first appears overwhelming compared to the likes of Operator and Flow Motion, but the Easy edit page affords enough top-level control over the vast array of presets in the factory library (plus an XY pad for morphing between up to four of them) that you might never need to look beyond it. That said, exploration of the multi-panel Expert page is highly recommended, as this is one of those synths that inspires creativity at every turn, thanks to its flexible FM Matrix and operator editing setup (including 32 waveforms), powerful modulation scheme, funky arpeggiator and well-stocked effects rack. Turning out dazzling, characterful sounds of all kinds – high-impact basses, evolving pads, clangorous percussion, expressive keys, you name it – this is one of those synths that every electronic musician should have in their plugins folder.
Waves Flow Motion
If all this talk of operators and algorithms makes your head spin, Waves’ comparatively unintimidating take on FM synthesis might just draw you in. Flow Motion immediately intrigues with its novel two-page interface: the Flow page houses four analogue oscillators, with frequency and phase modulation routings between them controlled using an intuitive ‘cable’-based system; while the Motion page is home to a multimode filter, EQ, amp and filter envelopes and effects. Four assignable LFO/envelope generators are also on hand for modulation of many parameters; the Arpeggiator and Note Sequencer being the melody; and things get really wild with the Snapshot Sequencer, which enables up to 16 complete Flow Motion presets to be assigned to up to 16 sequencer steps for switching between via playback or MIDI CC input.
Flow Motion’s unique workflow and styling set it apart in terms of making FM/PM synthesis fun and productive, but it also sounds wicked, and stringing together mad, evolving and animated sounds with the Snapshot Sequencer never gets tired.
Are you a fan or a foe of FM synthesis? Let us know in the comments.