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VI very deep clinic by Jim Aikin 20 VIRTUAL INSTRUMENTS Operator on the Line When I first heard that Ableton had released a 4-operator FM synth called Operator as an optional add-on for Live, I’ll admit I glanced at it and yawned politely. As much as I like FM, how could four operators hold their own against instruments that have six? When persuaded to take a closer look, though, my opinion ratcheted upward. The multimode filter and the useful list of waveforms open up a lot of sound design possibilities that aren’t apparent on the surface. The new version of Operator available with Live 6 contains in itself only a few small refinements—but the more flexible architecture of Live 6 boosts Operator to a whole new level, as you’ll discover in this clinic. If you like synthesizers, this little monster will truly chop wood and carry water for you. The add-on synth in Ableton Live 6 is a lot more than just FM lite The first part of this clinic is for those who are new to FM synthesis. It introduces Operator’s FM features briefly, and shows how to explore the tone colors available with FM. After shining a spotlight on a few of Operator’s other features, we’ll tackle some expert concepts—both FM programming and ways to use Operator in conjunction with Live 6’s new Racks and expanded modulation routings. While working on this article, I interviewed ace remixer and sound designer Francis Preve (www.fap7.com). Francis designed many of the factory presets for Operator, and has had tracks on Top Ten dance remix CDs. In addition, he’s the author/editor of The Remixer’s Bible (Backbeat Books). You’ll find his insights (uncredited) scattered throughout this article, and a few specific tips in the sidebar. Thanks Fran! FM 101 FM (frequency modulation) synthesis was first made popular by Yamaha in the 1980s. In FM, complex sounds are created by having one simple waveform modulate another. Often the waveforms being produced by the oscillators are sine waves, which are about as simple as an audio signal can get. The oscillator producing the sound we hear is called the carrier, and the oscillator being used to
change the tone of the carrier is called the modulator. A standard FM synth has at least four oscillators, and many have six. These can be configured in various ways. For instance, with four oscillators we might have two carrier/modulator pairs, or we might have three modulators, all operating on a single carrier. The configuration of oscillators is called an algorithm. Operator offers a choice among 11 algorithms, as shown in Fig. 1. Two key factors affect the tone of the carrier: the relative frequencies of the carrier and modulator, and the amplitude of the modulator. Cranking up the level of the modulator adds more overtones to the sound. While the ratio of the frequencies of the carrier and modulator controls which overtones will be heard, the formula that determines the exact combination of overtones produced by a given frequency ratio is not simple, and not interesting either. The best way to work with FM is to try different tunings for the carrier and modulator, and listen to the results. To give the user control over these factors, each oscillator has its own coarse and fine tuning knobs and an output amplitude knob. In addition, each oscillator has its own amplitude envelope, which you’ll see in the center panel when you click on one of the oscillators in the left column. Unlike an analog-type synth, where one amplitude envelope is often called on to contour the entire sound, FM synths give us separate amplitude control over each oscillator. The combination of an oscillator and an amplitude envelope is called an operator— hence the name of the synth. (Memo to Ableton: when Antares named their filter plug-in Filter, it was not a trend you want to emulate. Calling Live’s amazing new sampler Sampler... well, maybe all the good names have been used up.) FM discovery step-by-step Let’s walk through the process of creating a basic sound in Operator. Launch Live and follow along: 1. Drag Operator from the Browser into an empty MIDI track. Don’t drag one of the existing presets—we want to start from Fig. 1: The algorithms in Operator. The box or boxes on the bottom row of each icon are carriers, and those above them are modulators. Algorithms 6 (right end of the top row) and 10 (highlighted) are new in Live 6. At first glance 9 and 10 might seem almost identical, but if you click on 9 and look at the “wires,” you’ll see that in 9 the modulator affects all three carriers, while in 10 it affects only carrier C. scratch, so select Operator itself in the Browser. 2. Click the In button in the MIDI track and play your keyboard to verify that Operator is operating. You should hear a sine wave. 3. Looking at the panel, you’ll see that the default patch uses algorithm 1, in which all four operators are stacked. (It’s visible in the lower right area.) But you’re only hearing a sine wave, because the levels of operators B, C, and D are set to –inf dB. Turn up the Level of operator B while playing the keyboard. You’ll hear the sound gradually acquire more overtones. This is the core of FM synthesis. 4. After setting the Level of B to a reasonable value, such as –15dB, try adjusting the Coarse frequencies of A and B. You’ll discover that each ratio of A to B produces a distinctive combination of overtones. 5. Return A and B to Coarse settings of 1 and 1. Then click on the Fine tuning knob of B, hold down the computer’s Ctrl key to allow VI very deep clinic smaller adjustments, and move the Fine value up to between 3 and 6. You’ll hear the tone become animated as the two oscillators are detuned from one another. 6. With operator B still selected, drag the envelope sustain level down to zero. Now operator B is producing an attack transient. Adjust the decay time shorter or longer to change the length of the attack transient, and try adjusting the Coarse tuning of B to change the harmonic character of the transient. Leave the envelope set at a medium decay length, perhaps about 3 seconds. 7. Click in the algorithm panel (lower right) and select algorithm 7. In this algorithm three modulators all affect one carrier. The sound won’t have changed yet, because we’ve only turned up operator B. So turn up operator C to –15dB, turn its envelope sustain down to zero, and set the decay time to a much shorter value, in the 40-60ms range. Turn its Coarse tuning up to about 7. This will give each note a very percussive attack. FM synthesis is especially good at tuned percussion sounds like the one you’ve just created. 8. Turn up operator D to about –50dB, change its Coarse tuning to 8, and give it an envelope with a 4-second attack, a 32-second decay, and a –15dB sustain. This will produce a slow swell containing new overtones as the note sustains. 9. To hear the contribution that each operator is making to the composite tone, click their colored boxes to mute them one by one. Muting operators is extremely useful when you’re developing an FM sound. 10. Add velocity response to some or all of the operators to make your new preset more playable. Three important features Operator is sometimes compared to the Yamaha TX81z, a popular 1980s-era rack- The formula that determines the exact combination of overtones produced by a given frequency ratio is not simple, and not interesting either. mount synth that also produced its tones using 4-operator FM. But Operator has some powerful features that go well beyond what was possible in those early days. Filter. Operator’s multimode resonant filter is a vital sound-shaping tool. In Live 6, the filter has been enhanced with a choice between 12dB and 24dB per octave rolloff slopes. The 24dB options produce a more definite filtering action, while the 12dB options are more gentle. VIRTUAL INSTRUMENTS 21
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