This patch relies heavily on Frequency Modulation. To go further with Frequency Modulation I suggest you to study by re-programming it on your Analog Four with this step-by-step guide.
Let’s discuss something previously mentioned in the Frequency Modulation Explained. It is better to use simple waveforms when getting familiar with FM synthesis. Traditionally the FM synthesis tends to use sine waves. The closest candidate is the Triangle waveform.
Oscillator 1 settings
1/ Oscillator 1 waveform is set to Triangle but we set a sub-oscillator here that is 1OCT lower.
Oscillator 2 settings
2/ We make a good use of the Triangle Waveform again so everything should be altered with the Frequency Modulation in our LFO settings later.
AMP Envelope settings
3/ My settings for the ADSR of this sound
Filters settings
4/ Pay attention to the settings changes here. Frequencies are removed and the envelope amount, and a bit of overdrive (We don’t put too much overdrive otherwise it will complicate the FM next)
Filter Envelope settings
5/ Envelope of the Filters behavior
LFO1 Settings
6/ Now we go FM (Frequency Modulation) usually when you see this Tune Fork that’s FM – Don’t forget for by range of 16 we modulate the FRQ with a sinewave (it’s better for FM)
LFO2 Settings
7/ Now we go FM (Frequency Modulation) usually when you see this Tune Fork that’s FM – Don’t forget for by range of 16 we modulate the F12 with a Sinewave (it’s better for FM) as well and we add a bit of fade here
