I totally agree! I fell in love with this UGen and it helped me dig into FM synthesis which I didn’t know anything about. I ended up developing a SynthDef around the version without algorithms for the SuperDirt library to be used with TidalCycles, so some of the commuity over there are using it now.
// 6-op FM synth (DX7-like)
//
// Works a bit different from the original DX7. Instead of algorithms, you set the amount
// of modulation every operator receives from other operators and itself (feedback), virtually
// providing an endless number of possible combinations (algorithms).
//
// Responds to
// voice (preset number: [0] is user-defined; [1-5] are randomly generated presets).
// lfofreq (overall pitch modulation frequency)
// lfodepth (overall pitch modulation amplitude)
//
// Each operator responds to
// amp (operator volume - becomes carrier)
// ratio (frequency ratio)
// detune (in Hz)
// eglevel[1-4] (4 envelope generator levels)
// egrate[1-4] (4 envelope generator rates)
//
// The syntax for operator arguments is <argumentName + opIndex>[modulatorIndex | egIndex]
//
// For example:
// amp1 1 (op1 as carrier with full volume)
// ratio2 2.3 (op2 frequency ratio)
// mod11 0.5 (op1 feedback)
// mod12 0.78 (op1 modulation amount by op2)
// detune1 0.2 (op1 detune)
// eglevel12 0.1 (op1 EG level2)
// egrate11 0.01 (op1 EG rate1) -- WARNING: higher values go FASTER!
(
SynthDef(\superfm, {
var sustain = \sustain.kr(1);
var lfofreq = \lfofreq.kr(1);
var lfodepth = \lfodepth.kr(0);
var freq = \freq.kr(440);
var tremolo = 1 + (LFTri.kr(lfofreq) * lfodepth);
var out = \out.kr(0);
var pan = \pan.kr(0);
var voice = \voice.kr(0);
// overall envelope
var env = EnvGen.ar(Env.linen(0.01, 0.98, 0.01, 1, -3), timeScale:sustain, doneAction:2);
// operator output levels
var amps = Array.fill(6, { |i| (\amp++(i+1)).asSymbol.kr(1)});
// operator frequency ratios
var ratios = Array.fill(6, {|i| (\ratio++(i+1)).asSymbol.kr(1)});
// operator frequency detuners
var detunes = Array.fill(6, {|i| (\detune++(i+1)).asSymbol.kr(rand2(0.1))});
// feedback -- for presets only
var feedback = \feedback.kr(0.0);
// operator envelopes
var eglevels = Array.fill(6, {|i|
Array.fill(4, { |n| (\eglevel++(i+1)++(n+1)).asSymbol.kr(1) })
});
var egrates = Array.fill(6, {|i| [
// Supercollider envelopes use seconds for the durations of segments.
// So higher values mean transitions are slower.
// DX7s envelopes use rates, which is the inverse of time, 1/time.
// Higher values in DX7 mean transitions are faster.
max(0.1 / ((\egrate++(i+1)++1).asSymbol).ir(10), 0.001),
max(0.1 / ((\egrate++(i+1)++2).asSymbol).ir(0.3), 0.001),
max(0.1 / ((\egrate++(i+1)++3).asSymbol).ir(0.1), 0.001),
max(0.1 / ((\egrate++(i+1)++4).asSymbol).ir(0.1), 0.001),
]});
// modulation matrix
var mods = Array.fill2D(6, 6, { |r, c|
(\mod++(r+1)++(c+1)).asSymbol.kr(0) * if(r == c, feedback, 1)
});
var presets = SelectX.kr(voice, [
[ // user-defined
ratios, detunes, amps, eglevels, egrates, mods,
],
] ++
// randomly generated presets
Array.fill(5, { [
// ratios
Array.fill(6, {
[0.25, 0.5, 1, 2, 3, 4, 5, 6, 7, 11.rand + 1, 13.rand + 1, 15.rand + 1].wchoose(
[1, 2, 8, 4, 3, 0.5, 0.5, 0.5, 0.5, 0.25, 0.25, 0.25].normalizeSum)
}),
// detunes
Array.fill(6, { rand2(7) }),
// amps
Array.fill(6, { 1.0.rand * 0.5.coin.asInteger }),
// EG levels
Array.fill2D(6, 4, {1.0.rand}),
// EG rates
Array.fill2D(6, 4, {1.0.rand}),
// mods
Array.fill2D(6, 6, {|r,c| 1.0.rand * 0.25.coin.asInteger * if(r == c, feedback, 1)}),
]})
);
var envs = Array.fill(6, { |i|
EnvGen.kr(
Env.new(
// EG levels
[0]++Array.fill(4, { |n| presets[3][i][n] }),
// EG rates
Array.fill(4, { |n| presets[4][i][n] })
),
timeScale:sustain,
);
});
var ctls = Array.fill(6, { |i|
[freq * tremolo * presets[0][i] + presets[1][i], 0, envs[i]]
});
var sound = FM7.ar(ctls, presets[5]) * amps;
sound = Mix.ar(sound) * (-15.dbamp);
Out.ar(out, DirtPan.ar(sound, ~dirt.numChannels, pan, env));
}).add;
);
I love the freedom it gives for live coding FM. It’s absolutely brilliant. I’ve been using it almost exclusively for quite a while now. I really really like it. You can achieve very cool and interesting sounds with very little.
I also developed a SynthDef without envelope and trigger to be used with other UGens for modulation. It’s a superb UGen.
That is a very interesting project. That was my next planned step, so I will definitely look into it. Thanks for sharing
