N.I. FM8 Flashcards
1
Q
the basis of all FM synthesis is
A
a sine wave oscillator
2
Q
Analogue synthesizers used a circuit called a ___ to alter the oscillator level.
A
VCA (voltage-controlled amplifier)
3
Q
Some digital synths refer to VCA as __(for____), while others just refer to it as __
A
DCA (for Digitally Controlled Amplifier”)
amp.
4
Q
with analogue synths, the control signal that changes the level is generated by a circuit called the __aka__
A
envelope generator
EG
5
Q
This grouping of a sine wave oscillator, VCA/DCA, and EG is called an ____, which is the basic building block of FM synthesis.
A
Operator
6
Q
signals that are not ___ to the main oscillator create “clangourous” sounds
A
harmonically-related
7
Q
Injecting a harmonically-related signal generates harmonics that sound __
A
more “in-tune”
8
Q
The amount of harmonics depends on the level of _____ into the main oscillator, and the harmonic structure depends on the _____.
A
signal injected
modulating oscillator’s frequency
9
Q
As timbre is primarily affected by the injected signal’s___, adding a ___ after the modulating oscillator (along with an envelope generator to control it) allows ___over the signal, hence the overall timbre.
A
amplitude
VCA
predictable control
10
Q
The Operator we hear is called the __. An Operator is called a modulator if it modulates the carrier.
A
carrier
11
Q
An Operator is called a___ if it modulates the carrier.
A
modulator
12
Q
You can combine Operators in various ways to create a variety of ___.
A
Algorithms
13
Q
The FM8 has several preset algorithms, accessible from a drop-down menu on the___ window.
A
FM Matrix
14
Q
with___ added to the modulators - in effect, an Operator becomes its own modulator.
A
feedback
15
Q
Increasing feedback can add ___ and ___.
A
bite
grittiness
16
Q
The input on the fm matrix:You can use it as __ and ___ as if it where a normal Operator. This opens a lot of new possibilities for using the FM8 as an ___.
A
modulator
carrier
effects processor
17
Q
The envelopes in vintage synths worked on the __/___ principle, which specified the ___ at which the envelope goes from one___ to another.
A
rate/level
rate
level
18
Q
Faders and Knobs:For fine tuning, press the ___key prior to moving the element, and keep holding the___ key while moving the slider. You may also ___ on the __for direct editing.
A
Shift
Shift
double-click
value
19
Q
Faders and Knobs:A ___on the control resets the value to default.
A
double-click
20
Q
Faders and Knobs:When there is both a slider and a numeric value, you get finer resolution by __the numeric value
A
dragging
21
Q
For setting up the parameters Ratio and Offset dragging on the __digit of the numeric readout will change the value in 1s. If you drag on the __digit, the value will change in 10s.
A
1s
10s
22
Q
You can also ___ on a value and type in a new one via your computer’s keyboard.
A
double-click
23
Q
There are two types of popup menus in FM8. The first type is for ___ menus, as with the waveform selection for the Operators. The other one can be found in the ___ sections for envelopes, the Arpeggiator or the Algorithm selector.
A
preset-type
Template selection
24
Q
in FM matrix ___ on Operators switches them on and
off.
A
Ctrl-clicks
25
FM Matrix:___on Operator X and Z switches
| Bypass on and off (if Operator X/Z is active)
Shift+Ctrl click
26
Graphical Interfaces:The ____ on the Pitch window acts like a bunch of faders.
Microtuning Editor
27
___amounts can be positive and negative.
Modulation
28
Envelopes:To change an envelope’s shape, click on a ___with the mouse, and __ the __into the new position.
node
drag
breakpoint
29
Envelopes:To create a new ___, right-click where you want the node to appear
node
30
Envelopes:Drag the ___ up or down to change the Envelope’s slope between breakpoints.
Slope handles
31
Envelopes:To delete a node, ___on the node.
right-click
32
Envelopes: The ruler behind the envelope is calibrated in ___. If the envelope extends past the envelope’s visible range, click on the ___ and drag to the left or right to see a__ of the ruler.
seconds
blue background
different range
33
Envelopes: Clicking the ___ and ___ up or down zooms in and out.
background
dragging the mouse
34
Envelopes:
| __ on the background to have the envelope fit exactly within the visible part of the ruler.
Double-click
35
__and__
| Clicking them switches the window into a different mode, displaying a different page of controls.
Pages and Tabs
36
If you control the FM8 from a DX7, you can use the DX7 Keyboard option to adapt the
velocity range
37
the original DX7 has a note velocity range from ___, while all other keyboards and sequencers generate notes with velocities between
0 to 100
0 and 127.
38
MIDI Controller Range:Many FM8 parameters have a range from ____.
0 to 100
39
MIDI Controller Range:The second pair of switches let you decide how the buttons react to ____. The standard mode is ____: Off / ___:
0. ..63
| 64. .127
40
MIDI Controller Range: the ____option can be used so that the FM8 switches toggle on/off with each action of the remote control switches.
Even: Off / Odd: On
41
CPU Performance:
The _____mode enhances the fidelity of the sound by doubling the resolution of the internal computations. As a result, ___ is reduced leading to a cleaner and more analogue sound.
High resolution
aliasing
42
MIDI Assign:
When ____ is activated, selected parameters are outlined and can be controlled by external hardware via MIDI control changes.
Data Entry
43
Data Entry Controller sets the number of the ____ to be used .
MIDI controller
44
The____Controllers for Selected Op function allows a page oriented assignment of MIDI controllers.
Use Op A
45
MIDI Learn:
Remember to disable MIDI Learn as soon as a MIDI controller has____an FM8 control; this ensures that the assignment will not be overwritten by later events. But you may want to keep MIDI Learn enabled should you want to ____. In this case, disable Switch Off ____ have Learn mode only finished by a click on the Learn button.
been assigned to
assign several controls in a row
After Assignment to
46
The___provides the commands for adding libraries and maintaining the database.
Database Tab
47
Database Tab: ____ should be invoked when you make changes to the library – like adding or removing a new library, or copying new FM8 Sounds into your folders.
Rebuild DB
48
It’s best to start a rebuild just before you___
take a break.
49
• The name entered under ___ for Sound DB is used automatically in the Author field of the Meta Information if you create a new Sound or save it.
Default Author
50
___ provides a menu that determines the behaviour of the Browser’s Attributes display. When you filter for Sounds by clicking various ___ in the Browser, you put more and more constraints on the Search Results.
Database Hit Count
Attributes
51
With ____ chosen, empty categories will be displayed in grey. The show count as number option additionally displays the number of ___ with the current set of _____ in the various categories. Both options may degrade the Browser’s performance, so if you experience a slowdown, switch this menu to __
indicate empty categories
Sounds
Attributes
none.
52
The __ toggles the Arpeggiator on and off
ARP switch
53
With ___ inactive, any parameter edits you do are only affecting the timbre residing in the currently active corner of the morph square.
Edit All
54
The Morph Square does not hold complete Sounds but only their ___
timbres
55
With active___option, the parameter edits are affecting all four Sounds (in the morph square)at the same time
Edit All
56
Please be careful with the Edit All option. It’s very easy to forget that it is on and therefore to accidentally___
change timbres.
57
This Edit All option is __ automatically when a new Sound is loaded.
deactivated
58
The ___of the Application Control Bar is a mirror from the Spectrum page.
Spectrum Display
59
Spectrum Display :The ___represent the harmonics. This can be very useful for analysing ___ relative to__ while ___
numbers
frequency content
parameter changes
editing a sound.
60
It is for reference purposes and displays the overtone spectrum of the Sound
Spectrum Display
61
___sets the available ___, i.e. the maximum number of voices that FM8 is allowed to generate at any one time.
Poly
| polyphony
62
Polyphony setting is not stored or recalled as part of a Sound. It should be set to a value appropriate for the ___.
clock speed of the CPU
63
The ___provides access to the global parameters of the FM8.
Master Window
64
Master Window : Here you find things like the main___,___ settings, ___ controls and the ___assignments.
levels
Polyphony
global pitch
MIDI controller
65
___ changes the level of the entire instrument. Try to keep this as___as possible, consistent with not___ the device being fed by the FM8 (as indicated by the associated meter hitting___dB).
Output Volume
high
overloading
0
66
___ controls the level of signals being fed into the FM8 when using it as a processor. As with __, keep the control as___as possible without causing the associated level meter to___dB.
Input Volume
output
high
hit 0
67
Please note that the Input is also present on the FM Matrix. You can use it as __and __as if it where a __. Of course you will have to connect the___ to something to hear it.
modulator
carrier
normal Operator
IN Operator’s output
68
Polyphony sets the ___
available number of voices
69
__limits playback to one note at a time, as in the old___, analogue synthesizers. Like in the DX7 this also switches to ___(aka___). However, you can still stack multiple voices on this one note using__
Mono
monophonic
single trigger envelopes
legato playing
Unison
70
___determines how many voices are stacked on a single key in__ mode.
Unison Voices
unison
71
Unison:With ___ activated and many keys being pressed without enough available voices, the FM8 assigns fewer voices to each key, so individual notes “__” rather than disappear.
Dynamic
thin out
72
With ___ switched___, each new note uses the number of unison voices specified, if necessary voices are___ other notes already playing.
Unison Dynamic
off
stolen from
73
When ___ is ___the voices are shared equally between the notes. In this case the unison effect thins out gradually as more notes are being played.
Unison Dynamic
on
74
Unison Detune:... _____. Higher values give ___.
- detunes the unison voices for a fatter, chorus-like effect
| - increased detuning
75
Unison :Use the ____to distribute the stacked voices over the stereo panorama. This can produce___ effects.
Pan Parameter
nice three-dimensional
76
____ offsets the pitch from -99 to +100 cents for precise pitch matching to other instruments.
Master Tune
77
Transpose can transpose pitch up or down___octaves, in __ increments.
two
semitone
78
Portamento Time sets how long_____
it takes for the pitch to glide from one note
| to another.
79
____ allows portamento to occur only when playing legato, i.e. when there is ____. If you release a key before playing the next one, there will be ___.
Portamento Auto
no gap between played notes
no portamento
80
The auto portamento mode is especially useful in combination with the Arpeggiator __parameter. Tied notes are played ___ and therefore get portamento. This is fun when programming___ lines.
Tie
legato
303-style
81
Arpeggiator and Quality:___ introduces random variations between voices.
Analog
82
Arpeggiator and Quality:Analog:This used to happen with analogue gear – e.g. component values would change as ___ drifted, and so on. __ values increase the degree of randomness, and are very effective in __mode.
temperatures
Higher
Unison
83
Arpeggiator and Quality:___: changes the bit resolution, and therefore the sound quality.
Digital
84
The original DX7 was a__Bit device, whereas later models used __ bits.
12
16
85
The ___ display a list of currently assigned MIDI controllers. The left column shows the ___ and the right column displays the___
MIDI controls
controller number
assigned FM8 parameter.
86
The Effects units are displayed in a ___of virtual devices and the signal flows ___ from___
rack
serially
top to bottom.
87
The___controls the overall effects volume of the complete rack including all effects units. It acts like a___ between wet and dry signal.
Amount dial
crossfade
88
Drive determines the ___ level sent to the main tube amp model. At high levels, this will force the tube amp into ___
preamp
overdrive distortion.
89
The___ is for choosing the different cabinet models.
Cabinets menu
90
____ does the equivalent of “growing” or “shrinking” the cabinet and speakers.
Size
91
cabinet:__controls the level of early reflections in the room response adding a sense of space to the sound.
• Air
92
A_____ is a type of tone control that boosts or cuts starting at a specific frequency.
shelving equalizer
93
Phaser:__changes the phase of the shifted signal, producing a different
timbre.
Invert
94
Phaser:___synchronizes the phaser rate to the host tempo so that it follows the song’s rhythm.
Sync
95
Phaser:___ determines the number of stages in the phase shifter.
Notches
96
Phaser:
| Sweep Min sets the ___
sweep’s lower frequency limit.
97
Phaser: Sweep Max sets the __
sweep’s upper frequency limit.
98
Phaser:___alters the phase difference between the LFOs feeding the left and right channels for a stereo effect.
Rotate
99
Phaser:__ controls the LFO frequency. In other words it controls the speed of modulation.
Rate
100
Phaser: An active ___ button leads to a phase-shift of the modulated signal, thereby changing the timbre.
Inv
101
Phaser:__toggles modulation of the effect on and off. If switched off, the
flanging effect becomes static.
Static
102
Phaser:__sets the amount of modulation applied to the effect.
Depth
103
Phaser:___ dials in the amount of feedback.
Color
104
Phaser:____produces a spatial effect by shifting the phases of the LFOs for the two channels against each other. This leads to the impression of “___” the effect in the stereo space.
Rotate
rotating
105
_____:This actually is a 4-tap stereo delay line with four independent modulation LFOs and the output can be filtered
Chorus / Delay
106
Chorus / Delay:
| ___sets the time between repeats.
Time
107
Chorus / Delay:
Invert alters the___of the repeats. Inversion gives a somewhat more diffused sound with echoes and with flanging, changes the effect’s __.
phase
tonality
108
Chorus / Delay:___spreads the 4 echo taps in time. Higher values give more
Diffusion
109
Pattern editor:To the left of the Position Row there are two___ buttons that rotate the contents of the matrix. They move all steps up to the repeat marker to the left or right by one position.
Position Shift`
110
Pattern editor:The __row determines which steps trigger a note.
On
111
Pattern editor: ___ input notes are triggered at once, so if you play a chord, you will hear this chord for all steps activated set to ___; otherwise the Arpeggiator always plays __lines.
All
All
monophonic
112
Pattern editor:__: Means that this input note (counted from lowest or highest) is
triggered.
1-32
113
Pattern editor:The ___ row allows for transposition of the steps octave-wise up or down,
whereas the ___ parameter is for transposition in semi-tone steps.
Octave
Transpose
114
The various __ parameters are “meta-parameters” and manipulate a more or less complex set of FM8 parameters when you use them.
Easy Edit
115
Timbre Controls:___ changes the harmonic content (by adjusting the___). Depending on the patch, the changed harmonics may be somewhat ___.
Harmonic
Operator Ratios
atonal
116
Timbre Controls:
| ___changes the pitch slightly of different oscillators in a ___ preset, which creates a fatter sound.
Detune
multi-oscillator
117
Timbre Controls:
| Brightness increases the sound’s high frequency content by increasing the ___
connection amounts in the FM-Matrix.
118
Timbre Controls:
Changing any ____ parameter causes multiple changes in the individual Operator envelopes to accomplish the desired effect.
Timbre Envelope
119
The____button takes the current Morph state and copies it to all four Slots of the Morph Square leading to four identical Morph corners.
Normalize Timbres
120
FM Matrix:Programming starts with an ___, and then continues with programming the various ___ that make up the __.
algorithm
Operators
algorithm
121
FM Matrix:The final programming step involves ___ and___.
adding effects
tweaking
122
FM Matrix:The matrix lets you route modulators to carriers, and send carriers to the ___
audio output.
123
___+___ click on Operator X and Z switches Bypass on and off
Shift
Ctrl
124
The lowest row of the FM Matrix holds the ___values for the different Operators.
panning
125
The Operator has to be a ___and be _____ for the pan value to work.
carrier
routed to the output
126
Operator A-E Pages: the Level slider will always assume the value of the column numerical with the___. It also works___.
highest value
ratiometrically
127
Frequency Controls:___ defines the mathematical relationship of the Operator frequency compared to the fundamental frequency of the note being played.
Frequency Ratio
128
Frequency Ratio:1.0000 means the Operator is ___
the same pitch as the fundamental
129
Frequency Ratio:
| When the Ratio is not an exact integer (e.g. 1.0030) then the Operator is ___ and will ____
detuned
“beat” against other Operators
130
Frequency Ratio:
| The beat frequency___if the note pitch increases, and___if the note pitch decreases.
rises
falls
131
Frequency Ratio:
___ applies a constant frequency offset (in Hz) to the Operator to cause detuning and beating against other Operators. This is constant regardless of pitch. Example: a 5 Hz Offset causes beating at exactly 5 Hz between the selected Operator and another Operator with no offset.
Frequency Offset
132
Frequency Offset applies a constant frequency offset (in Hz) to the Operator to cause___and ____. This is constant regardless of ___.
detuning
beating against other Operators
pitch
133
When using an FM-Operator as a ____(Ratio = 0, Offset = 0), the phase of the waveform can be adjusted
static wave shaper
134
____mode resets the oscillator phase at the beginning of each note.
Key Sync
135
When any group of Operators needs to have a fixed phase relationship to preserve a particular tone quality, activate___for all Operators in the group.
Key Sync
136
With ___ mode, there is no phase reset.
Free Run
137
_____toggles modulation by the pitch envelope on and off. This allows some nice effects.
Pitch Envelope
138
Pitch Envelope : When one carrier is ___and another is not, a deactivated____ for one of them gives a fat, time-varying detune effect. When this time-varying detuning is applied between a carrier and its modulator, the result is an _____effect.
pitched
Pitch Envelope
inharmonic FM
139
The effect is especially noticeable when a waveform Operator feeds back on itself.
InvertWaveform
140
___varying the Operator amplitude over time.
Amplitude Envelope
141
____edits how keyboard pitch affects the envelope times. At higher values, playing higher up on the keyboard shortens all time values. This emulates many ___instruments, whose notes attack and decay more quickly at higher pitches.
Key Scaling
plucked
142
When Release is ___ and Sustain is ___, the Envelope will never reach its end, but sustain indefinitely, until it is retriggered .
off
on
143
Tempo Sync :The quantization value depends on the current___factor, as set by right- clicking on the ___ and dragging.
zoom
envelope ruler
144
If there are more than 3 breakpoints the sustain or loop segment can be shifted by moving the _____ with the mouse.
vertical red lines
145
Dragging the___ (small circle) between breakpoints changes the line’s ___between the breakpoints from concave over linear to convex.
Slope Handle
slope
146
Envelope parameter strip below the envelope:____ shows two numbers. The first field is the index number of the breakpoint or stage being edited. The second field is the total number of envelope breakpoints. This is for display only and cannot be edited.
#
147
Envelope parameter strip:
| :___ has two options, SLD and FIX.
Mode
148
Envelope parameter strip:Mode:In___ mode, if you move a breakpoint left or right, the envelope to the right of the breakpoint moves as well to maintain the same times and levels past the breakpoint being edited.
SLiDe
149
Envelope parameter strip:Mode:
| In____mode,the total envelope time doesn’t change.
Fix
150
Envelope parameter strip:Mode:Fix:
Moving a breakpoint to the right not only ____ compared to the breakpoint to its left, but ____compared to the breakpoint at its right.
lengthens its distance
shortens the distance
151
Envelope parameter strip:____: shows the amount of time in seconds from the start of the envelope to the breakpoint being edited.
Abs Time
152
Envelope parameter strip:____:shows the time between the current and the previous breakpoint.
Rel Time
153
Envelope parameter strip:____:shows the amount of time in seconds from the breakpoint being edited to the breakpoint at its immediate left.
Delta Time
154
Envelope parameter strip:____: shows the breakpoint level referenced to the centre line.
level
155
Envelope parameter strip:____: shows the state of the line between breakpoints.
Slope
156
operator envelope: _____to have the envelope fit exactly within the visible part of the ruler.
Double-click on the background
157
To the right of the envelope there is a button indicating the link status of the envelope. Note that it can only be used to___ the current envelope
unlink
158
___ adds digitally-generated random__ (this is very useful for modulating carriers, but also provides a useful audio output).
Noise
noise
159
saturator:• ___ offsets the symmetry of the saturation. The higher the value, the greater the saturation of ___ will be.
Asym
negative amplitudes
160
saturator: __clips both the positive-and negative-going portions of the waveform. __ values produce more clipping; a value ___introduces no clipping. Note: Extreme clipping will also lower the__
Limit
Lower
of 100
output level.
161
This special-case Operator is a signal processor that contains two separate filters (each a ___filter), which can be combined in almost any imaginable configuration.
Operator Z
2-pole multimode
162
Operator Z:___ applies to Filter 2 only. It offsets Filter 2’s frequency compared to Filter 1.
cutoff Spread
163
Operator Z:cutoff Spread:A value of 0 sets ___ for both filters. Increasing the value increases Filter 2’s __compared to Filter 1.
identical cutoffs
cutoff
164
Operator Z:Filter ___changes the balance of the output of the two filters, from only Filter 1 output, to both outputs, to only Filter 2 output.
Mix
165
Operator Z:Filter:__adjusts the configuration of the two filters from serial to parallel , to anywhere in between.
Par/Ser
166
Operator Z:Filter:Note that the display of the ___ is invaluable in figuring out how these parameters affect the filter response.
filter response
167
Operator Z:Filter:___determines how much the envelope affects the cutoff frequency.
Env Amount
168
When operator Z is connected to the output, it is actually a ___.
stereo filter
169
___this page gives you a one-stop overview of the most important Operator parameters in a single window.
Operators Window
170
Frequency Ratio : 1.0000 means the Operator is ___, 2.000 sets the Operator to the ___, 3.000 is the ___, etc. 0.5000 is the ____
the same pitch as the fundamental
second harmonic (1 octave higher)
third harmonic (octave + fifth)
subharmonic one octave below the fundamental.
171
Frequency Offset applies a __ (in Hz) to the Operator to cause detuning and beating against other Operators.
constant frequency offset
172
the___ shows all Amplitude envelopes for all Operators on one page in a list of graphs for easy editing.
Envelope Window
173
The FM Matrix to the right can be ___ by clicking on the Expand button.
hidden
174
The __buttons to the right of the graphs allow for editing several envelopes at the same time.
Link
175
envelope window:Link :The envelope you link others to is always the one ___. Click on the Link buttons of other envelopes to build a ___.
currently chosen for edits
Link Group
176
Modulation Matrix:___Pitch bend up range
:PB Up
177
Modulation Matrix:______ Pitch bend down range, applied in negative direction
PB Dn
178
Modulation Matrix:_______Modulation wheel (MIDI controller #1)
:Mod
179
Modulation Matrix:___ Aftertouch (channel pressure)
AT
180
Modulation Matrix:____:Breath controller (MIDI controller #2
Breath
181
Modulation Matrix:____:1st MIDI controller assigned on Master Page
Ctrl 1
182
Modulation Matrix:____:2nd MIDI controller assigned on Master Page
Ctrl 2
183
Modulation Matrix:____: Envelope derived from input signal amplitude
In Env
184
Key Scaling Window:___sets how the Operator amplitude changes across the keyboard range. Choose the ___by clicking on the ___ letter to the left of the stack of keyscaling graphs.
Keyscaling
Operator
Operator
185
Microtuning Controls:Octave stretch:An offset of ___ compresses the scale into two semitones per key, or two octaves into one octave. An offset of ___expands the normal scale into a quarter tone scale (in other words, there are ___notes per octave).
50
-50
24
186
Pitch Window: Pitch Bend Mode :
| __affects all notes equally.
Normal
187
Pitch Window: Pitch Bend Mode :___:affects only the highest note if several notes are held. This is
designed to provide___-like pitch bending effects.
Highest
guitar
188
Pitch Window: Pitch Bend Mode :___: affects only the lowest note if several notes are held.
Lowest
189
Pitch Window: Pitch Bend Mode :___:allows pitch bend to work only as long as a key is held down. There is no bend during the sound’s release phase.
Key On
190
Pitch Window: Pitch Bend Mode :___:affects only the note that was played last.
Latest
191
Pitch Window:The ___ varies the pitch over time.
pitch envelope
192
With Sustain ___, the envelope will always run to the end, no matter whether you hold the key or not.
off
193
With Sustain__, the envelope behaves like your standard synth-envelope by staying on the Sustain level or playing the loop until the key is released.
active
194
A deactivated___ button leads to an envelope that ignores the Note Off signal
Release
195
the Spectrum of your sound. It displays the __. This can be very useful for analysing____ relative to ___ while editing a sound
frequency distribution
frequency content
parameter changes
