10.6

720Logic Pro Instruments
Typically, FMsynthesizers don’t incorporate a filter. You can generate some subtractive
synthesizer style sounds with FMsynthesis, but it is difficult to recreate the sound of a
resonant subtractive synthesizer filter using this method. FMsynthesis is extremely good,
however, at creating sounds that are difficult to achieve with subtractive synthesizers—
sounds such as bell timbres, metallic tones, and the tine tones of electric pianos. Another
strength of FMsynthesis is punchy bass and synthetic brass sounds.
The EFM1 and Retro Synth FMsynthesizers can produce many of the classic FMsounds
made famous by the Yamaha DXseries of synthesizers. The DX7, sold from 1983 to 1986,
remains the most commercially successful professional-level hardware synthesizer ever
made. The Retro Synth FMsynthesizer adds a filter section and other features to the FM
engine, opening up a much broader range of potential sounds.
ES2 also features some FMtechniques that allow you to modulate one oscillator with
another. You can use these FMtechniques to partially bridge the gap between the digital
sound of FMsynthesis and the fat analog sound that ES2 is noted for.
Component modeling synthesis
Also known as physical modeling, this synthesis method uses mathematical models to
simulate instruments. Parameters are used to describe the physical characteristics of
an instrument, such as the materials the instrument is made of, the dimensions of the
instrument, and the environment it is played in—under water, or in the air, for example.
Equally important are descriptions of how the player would interact with the instrument—
whether it is played by blowing; by plucking, bowing, or strumming strings; by hitting it with
sticks; by placing fingers on sound holes, and so on.
To model a drum sound, for example, the following aspects need to be taken into account.
Of primary importance is the actual drum strike—how hard it is and whether the drumhead
is struck with a wooden stick, a mallet, a beater, and so on. The properties of the drumhead
(the skin or membrane) include the kind of material, its degree of stiffness, its density,
its diameter, and the way it is attached to the shell of the drum. The volume of the drum
cylinder itself, its material, and the resonance characteristics of all of the above need to be
mathematically described.
To model a violin, you need to take into account the bow against the string, the bow width
and material, the bow tension, the string material, the string density, the string tension,
the resonance and damping behavior of the strings, the transfer of string vibrations
through the bridge (materials, size, and shape of the bridge), and the materials, size,
and resonance characteristics of the violin body. Further considerations include the
environment that your modeled violin is played in and the playing style—“hammering” or
tapping with the bow as opposed to drawing it across the strings.
The Sculpture component modeling synthesizer can produce convincing recreations of
acoustic (and electronic) instruments. It is also exceptionally good at creating atmospheric,
constantly evolving pad sounds. Other instruments that include physical modeling
components and techniques are: Ultrabeat, Vintage B3, Vintage Clav, and Vintage Electric
Piano.