In 1983 YAMAHA Corp. released DX7, the first successful digital synthesizer and is one of the best-selling electronic instruments in history, selling more than 200,000 units.

DX7 and its derivative models utilized the Frequency Modulation sound generation technology developed by John Chowning at Stanford University and previously deployed, although with little commercial success, by Don Buchla.

With its bright, metallic and glassy sounds, DX7 and the subsequent models of the series, have largely shaped the sound of pop and rock music of 1980s.

Subsequently YAMAHA introduced SY series of series those combined FM and AWM (sample-based) synthesis, enhanced with so-called Vector synthesis initially developed by Sequential Circuits. Vector synthesis provides movement in a sound by providing dynamic cross-fading between (usually) four sound sources. By bringing two ‘worlds’ together, SY-series synths enabled unique, moving timbres and sound textures.

The best known vector-based syntesizer so far, however, is KORG WAVESTATION presented in 1990. It has also introduced the synthesis method called ‘wave sequencing’, built on the earlier Wavetable synthesis technique. The wave sequence is a programmed list of PCM waves playing in succession, with each step having possibly different duration, pitch, fine tuning, level and crossfade amount.

It was WAVESTATION which had also introduced Wave Sequencing, a method of multi-timbral sound generation in which different digital (PCM) waveform data are played successively, resulting in continuously evolving sounds. It was a concept very similar to Wavetable synthesis, except that Wavetable utilizes single-cycle waveforms, taken from a specific part of a sample, while wave sequencing allows to play the whole sample.

With the joystick the variability of WAVESTATION’s sounds clearly poked the sky. Besides it has had numerous rhythmic presets compensating for the lack of on-board sequencer.

The coupling of Vector and Wave Sequencing synthesis methods essentially made WAVESTATION The Soundtrack Machine, and The Pad Monster shaping the sound and atmosphere of many mainstream and underground records throughout 1990s and later.

With Stanford University patent expiring, instruments from other vendors, hardware and software, started popping up. KORG have released a number of their own, both in 1980s (utilizing YAMAHA’s chip, though) and in 2010s – 2020s. There are multiple software emulations of YAMAHA DX7, such as freeware DEXED, commercial PLOGUE CHIPSYNTH OPS7, ARTURIA DX7 V, etc.

Some of virtual FM synths, like NATIVE INSTRUMENTS FM8, made a mighty leap forward compared to DX7 and later synths: even though it basically stuck to 6-op paradigm of Yamaha’s classic device, there are no fixed algorithms and thusly no limits to how operators can modulate each others.

FM synthesis remains somewhat enigmatic. It’s rather easy to understand the basics: mentioned above, there are Operators acting as Carriers and Modulators of the waveform. Then there are Algorithms – the fixed (usually) chains of operators linked together, and modulating each other. But how to get anything meaningful of them? And what does it heave with Harmonics? Translating the theory into practical use is a different stuff.

Fortunately there are tons of the information available on the matter now, including such precious works as ‘FM Synthesis of Real Instruments‘ (PDF), which largely demystify the FM alchemy. The author simply states that FM synthesis is ‘vibrato on steroids’. And it appears absolutely true once you delve into this synthesis.

Likely though the FM beginner would still go through a lot of trial-and-error before succeeding at creating their Epic Masterpiece Timbre (Hallelujah!). But you know what? With the current generation of software and hardware synthesizers, even ‘blind’ experimenting occasionally delivers.

In 2020 KORG brings back Wave Sequencing/Vector Synthesis combo in the form of WAVESTATE, a new instrument paying a very decent homage to Wavestation. However, unlike its predecessor WAVESTATE now is capable of reading and sequencing user-produced samples, which makes it a perfect playground for sound designers, while it’s factory sound library is terrific on its own.

Last year I’ve assembled a sizeable collection of FM-based timbres – i.e. sounds from FM synths sampled and, in most cases, looped for KORG WAVESTATE: Phi Mu Labs, vol. 1. It pays a homage to DX and SY synths ranges, showcasing how capable and timeless the combinations of various sound synthesis techniques are:

Yesterday I completed the second PHI MU LABS library, and right now finish a Youtube demo. As soon as it is done, the library will be available on Gumroad.

Yet another library is in the works too.

Stay tuned!