frequency modulation synthesis

See for example frequency modulation synthesis or ring modulation synthesis.

Frequency modulation synthesis distorts the carrier frequency of an oscillator by modulating it with another signal.

It belongs to Yamaha's OPN family of frequency modulation synthesis chips used in several game and computer systems.

Frequency modulation synthesis (FM synth)

Dual Frequency Modulation (see also Frequency modulation synthesis)

The album consists mainly of sequenced beats, along with dinstinctly Frequency modulation synthesis bell-like sounds, and a number of sounds generated by analog synthesizers.

It used frequency modulation synthesis (FM synthesis), first developed by John Chowning at Stanford University during the late sixties.

The VZ-1's synthesis method ("Interactive phase distortion") includes Frequency modulation synthesis as well as an improved version of phase distortion.

It was capable of several types of synthesis, including additive synthesis, phase modulation synthesis, and frequency modulation synthesis (commonly abbreviated to FM).

Tone generation in the DX7 is based on linear frequency modulation synthesis (FM), based on research by John Chowning at Stanford University.

Its main method of synthesis is Frequency modulation synthesis, done by phase modulation of the phase of one of the channel's oscillators by the output of the other.

In 1975, the Japanese company Yamaha licensed the algorithms for frequency modulation synthesis (FM synthesis) from John Chowning, who had experimented with it at Stanford University since 1971.

Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis.

The later, more professional range of keyboards, the CZ series, used phase distortion synthesis, which is mathematically almost identical to Yamaha's frequency modulation synthesis, although implemented slightly differently to avoid patent infringement.

Approach to game music development in this time period usually involved using simple tone generation and/or frequency modulation synthesis to simulate instruments for melodies, and use of a "noise channel" for simulating percussive noises.

FM synthesis (frequency modulation synthesis) is a process that usually involves the use of at least two signal generators (sine-wave oscillators, commonly referred to as "operators" in FM-only synthesizers) to create and modify a voice.

Early budget cards, such as the AdLib and the Sound Blaster and its compatibles, used a stripped-down version of Yamaha's frequency modulation synthesis (FM synthesis) technology played back through low-quality digital-to-analog converters.

Instead of simply generating a waveform that sounded like a simplistic "Beep (sound)", such as Frequency modulation synthesis, this technique allowed short Sampling (signal processing) of pre-recorded sound waves to be played back through the computer's sound chip from memory.

A major advance for chip music was the introduction of frequency modulation synthesis (FM synthesis), first commercially released by Yamaha for their digital synthesizers and FM sound chips, which began appearing in arcade machines from the early 1980s.

The Yamaha SY99 is a synthesiser combining frequency modulation synthesis (branded as Advanced FM) and sample-based synthesis (branded as Advanced Wave Memory 2) and the direct successor to Yamaha's SY77/TG77.

Wavetable synthesis has similar capabilities to other synthesizers in the real-time additive synthesis family, as well as to digital frequency modulation synthesis systems such as the Yamaha DX and OPx series; however, wavetable synthesizers require less hardware to produce a usable system.

Around the same time, the introduction of frequency modulation synthesis (FM synthesis), first commercially released by Yamaha for their digital synthesizers and FM sound chips, allowed the tones to be manipulated to have different sound characteristics, where before the tone generated by the chip was limited to the design of the chip itself.