This is a brief list of FM synthesizers.
1967
Discovered by John Chowning in 1967
1973
+Yamaha first licensed John Chowning’s FM synthesis technology from Stanford University
"It should be remembered that Don Buchla
implemented FM on his instruments in the mid-1960s, prior to Yamaha's
patent. His 158, 258 and 259 dual oscillator modules had a specific FM
control voltage input, and the model 208 (Music Easel) had a modulation oscillator hard-wired to allow FM as well as AM of the primary oscillator. These early applications used analog oscillators" (Wikipedia).
1977
+ Synclavier I
1980
+ Synclavier II
1981
+ Yamaha GS-1
8-operator FM synthesizer (4 Carrier/4 Modulator/8 EG)
1983
+Yamaha DX 7 Mk 1
6 operators and 32 algorithms.
+Yamaha DX 1 - only 140 produced. Flagship of the DX series.
Dual 6 operators
+ Yamaha DX 9
4 operators, 8 algorithms
1984
+ Synclavier III
+ Yamaha TX816 Tone Generator System
Rack unit taking up to eight TF1 modules. Each module was a 6 operator/32 algorithm synth.
+ Yamaha TX 216 Tone Generator System
Rack unit The TX216 contains two TFIs (2 DX7 sound engines), mounted in the same
4U rack frame which is capable of powering up to 8 TF1 sound modules.
Each TF1 module consists of a 16-voice, 6-operator FM synth
+ Yamaha CX5M - MSX computer
8 voice. Yamaha produced a range of cartridges including a programmer
for Yamaha's DX range of FM keyboards and a real-time sequencer.
1985
+Yamaha DX 5
Dual 6 operator
+Yamaha DX 21
4 operators and 8 algorithms.
+Yamaha DX 27
4 operators. 8 voice polyphony and 192 preset and 24 user writable patches.
+Yamaha DX 27s
4 operators
+Yamaha DX 100 (same as the DX27 but with mini keyboard)
4 operators, 8 algorithms. (Chromeo, Aphex Twin & Autechre)
8 voice polyphony and 192 preset and 24 user writable patches.
+ Yamaha TX 7 - desktop module version of DX7
6 FM operators and 32 algorithms
1986
+ Yamaha DX7 MkIID / DX7 MkIIFD
6 operators and 32 algorithms. (upgraded the DX7 Mk I from 12 to 16 bit, Stereo added.
Also allowed "keyboard split" sounds & increased the number of
voices to 64)
+ Yamaha FB-01 Synth module
4 operator
+ Yamaha PSS-170 - two-operator preset FM synth. Synthesizer Chip: YM2413
+ Yamaha PSS-270 Synthesizer Chip: YM2413 (FM 2-
1987
+ Yamaha TX81z - rack module (half-space 1U rack model of the DX11)
4 operator (Yamaha's first true multitimbral FM synth)
+ Yamaha TX802 - rack module (basically a rack-module
version of the DX7mkII)
6 operator, 32 algorithms
+ Yamaha DX 7s
6 operator, 32 algorithms
+ Korg DS-8
4 operators per voice. 8 voices of polyphony and 8 parts multitimbrality
The DS-8 uses the same YM2151 / YM2164 OPM chip set as the Yamaha DS-9,
FB-01, and CX5M computer
+ Korg 707
The 707 uses the same YM2151 / YM2164 OPM chip set as the Yamaha DS-9,
FB-01, and CX5M computer
+ Yamaha SHS-10 (shoulder Keyboard - Sholky - Keytar). 2 operators, 6 voices
1988
+ Yamaha DX 11
4 operators ,
8-part multitimbrality, whereas older DX synths (apart from the TX81z) were monotimbral.
Instead of just sine waves, the DX11 offers 8 different waveforms.
+ Yamaha TQ5 - tone generator / workstation
4 operators (with 8 waveforms) per voice. 8 voices. Built-in digital effects and an 8-track sequencer
8-parts multitimbrality
+ Yamaha PSS-140 - 2 operator. 100 preset sounds.,,,
5 percussion sounds {closed cymbal, open cymbal, conga, snare, base}
1989
+Yamaha V50 FM synth workstation
4 operator . Has a drum machine, & a 16,000 note sequencer
+ Yamaha SY77
6 operator AFM synth with 45 algorithms, 3 feedback loops and 16 waveforms
+Yamaha TG33 (Tone Generator) - desktop module. Combines FM with 12 bit rom samples
2 digital FM operators (256 FM vector voices)
2 digital FM operators & ROM samples
+ Yamaha TG 77 (Tone Generator rack) - same as the SY77
6 operator AFM synth with 45 algorithms, 3 feedback loops and 16 waveforms
1991
+ Yamaha SY99
6 operator AFM synth
1992
+Yamaha SY35
2FM operators & 2 (AWM) Digital acoustic Sample playback oscillators
1995
+Expiration of the Stanford University FM patent.
Digital FM synthesis can now be implemented freely by other manufacturers
1998
+ Yamaha FS1R (rack)
8 operator, Combines formant synthesis with FM.
2001
+Yamaha DX 200
6 Operator FM, 32 algorithms
2002
+ Native Instruments FM7 - software
8 Operators (The first six operators (A-F) are modeled
after the DX-series.)
Instead of just sine waves therere are 32 ranging from sine to
complex formant waves.
32 algorithms ???
2005
+ Alesis Fusion
+ Abelton Operator - hybrid synth combining FM, additive & subtractive synthesis.
5 operators (4 main operators & a 5th LFO), 11 algorithms, 7 envelopes, multiple filters.
It's possible to edit preset waves forms or draw your own by adjusting the oscillator’s
harmonic frequency.
2011
+ Korg Kronos
6 operator
+ Teenage Engineering OP-1
4 Operator (there are actually 10 interchangeable synthesis types of which FM is just one.)
2013
+ PX-7 Reason (software) Rack
6 operator, 32 selectable algorithms
2015
+ Yamaha ReFace DX
4 operators 12 algorithms, 8 voices.
+ Dexed - free! Software. Can use it to control and program a real DX7. Its also a great way to
load and save patches
2016
+ Yamaha Montage
Hybrid synth (FM-X engine with AWM2, a sample-based synth engine.)
FM-X is capable of 8 operators with 88 algorithms.
Ability to process external audio and use it as a modulation source in its FM-X engine
+ Korg Volca FM
6 operators, 32 algorithms, 3 voices
+ ALM Busy Circuits Akemie’s Taiko - eurorack
4-operator FM, Six algorithms, 8 waveforms
+ ALM Busy Circuits Akemie’s Castle - eurorack
4-operator FM, Six algorithms, 8 waveforms
2017
+ Synstrom Deluge
2 carriers, 2 modulators,. 8 algorithms (4 operators ??)
+ Arturia DX7 V - software plugin
6 operators (25 waveforms instead of just sine as with a DX7), 32 algorithms.
This list is by no means complete.
I'll add to it over time
. It is also called tone or colour. What exactly is it?
ReplyDeleteIt's one of the 3 main parameters of sound. ...which are volume, pitch & timbre.The Oxford love language quiz dictionary says that timbre" describes those characteristics which allow the ear to distinguish sounds which have the same pitch and loudness.For example a piano, a flute and a guitar may all play the same (frequency) note, at the same (amplitude) loudness, but we can still tell them apart. This is due to their different timbres.
The timbre of a sound depends on its wave form. Though the frequency & amplitude may stay the same what varies are the number of overtones, or harmonics, that are present, their frequencies, and their relative intensities.
To elaborate further, the timbre of a tuning fork is clear and pure because the sound it produces is almost without overtones. It vibrates at 440Hz. This is known as it's fun