Designing an arpeggiated synth in FM8 is a simple task really, but using the arpeggiator in creative ways to generate builds is something that can help add interest and character to your projects!
This quick example of a basic electronic arpeggiated synth in FM8 is meant to show you just one more way that you can creatively use the arpeggiator tool to generate unique builds and sequences that can add tension, interest, character and style to your audio productions. Simply changing octaves or notes is sometimes not enough. But when you begin to combine rhythmic steps with sequencial changes in both octaves and transposing notes, then your synth comes to life and obviously has intent.
Begin by setting up a very simple synth in the FM Matrix. As you can see in the image below, I chose to also create some basic layering by having three operators routed to the main output strip. I also made the two ‘backup’ operators panned in opposite direction to generate more width when the sound is delivered. The modulation and feedback used is all subtle, yet effective, as are the pitch variants.
Next, I set up the arpeggiator to run in a sequence that consistently run up the keyboard over the course of 32 steps. This creates a building riser effect, but each note is hear separately. This can be used as a rhythmic element or a melodic element.
Now to add one quick effect to our arpeggiated synth in FM8. The Chorus/Delay effect keeps all of the default settings, except I have elected to sync it to the BPM of my project to help ensure that each note heard is succinct and independent from the next.
The last step in this process is to make a few changes to the Master window. Here I increased the Detune paramater slightly, and further widened the sound by turning up the Pan parameter. I also tweaked the Analog and Digital Quality sliders a bit. Make sure to not add too much of these, as it can add unwanted noise to the synth.
Below is a quick audio example of the synth in action. The first run heard is just one note, a C2. The second run is two notes held, C2 and C1. The third run is three notes, C2, G1 and C1. As you can hear, as you add notes you begin to create more complexity in how the arpeggiator deals with how the notes are distributed throughout the sequence.
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