Kodamo EssenceFM, User Manual

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The quickest way to learn FM synthesis is by looking at existing sounds. Go into Voice
mode, select one from the list and press “Edit” to see how they work and try modifying
them.
FM synthesis has the big advantage of being really fun to work with - after about 10
years experimenting with it, we are still surprised by the variety of sounds we can get
from it.
We hope you’ll like it as much as we do!
Sound design tips
Start with a single audible operator (mute the others), then build your sound from that
point, by adding operators as you need them. Instead of using a single modulator with a
very high volume, try using several of them chained in different ways, with a lower
volume to achieve a more refined sound.
When trying to achieve a particular sound, try to split it into several sub-sounds to make
them easier to manage. For example, for a pan flute, you may want to create a short
noise attack sound and a sustained square-like sound.
Use the sine wave first. They are the most flexible and useful in FM synthesis. Use other
waveforms with care, as their aliasing limit is easily exceeded. You will find that some
waveforms are well suited to some instruments (like the Square wave for cymbals, or the
HSine for bowed strings).
When you have a good sound that is just a bit “thin” sounding try detuning an operator
(“Fine” parameter) to create a rotating phase shift. If the wobbly effect isn’t appropriate,
try overlapping two instances of the voice in Patch mode instead, with a slight detune to
one of them. Also don’t underestimate the effects, some chorus or phaser may do
wonders.
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