What Is FM?

Frequency modulation (FM) is when the pitch of one oscillator is modulated by another signal — often another oscillator. This creates new harmonics, textures, and tones that go way beyond simple waveforms.

FM happens at the source — it’s not shaping a waveform after the fact, it’s changing how the waveform is created. You can use it for subtle vibrato, harmonically rich tones, metallic clangs, or complete chaos.

Types of FM

• Low-rate FM: Use an LFO to wiggle the pitch slowly. Think vibrato or pitch bends.
• Audio-rate FM: Modulate pitch with another oscillator. This is where things get harmonically complex and wild.

FM at Slow Rates ≈ Portamento?

When I was new to synthesis, I totally ignored FM. I patched an LFO into the pitch input, heard slow pitch glides, and figured FM was just portamento with extra steps. It felt kind of meh.

But here’s the deal — FM comes alive at audio rates. That’s when you're modulating one oscillator's pitch with another oscillator, fast enough to generate new harmonic content. Instead of just bending pitch, you’re sculpting complex, reactive waveforms.

• Slow-rate FM: Feels like vibrato or glide.
• Audio-rate FM: Produces rich, buzzy, or metallic timbres — a totally different world.

Linear vs Exponential FM

There are two main ways to apply FM in synthesis: linear and exponential. Both can sound great, but they behave differently — especially when it comes to tracking and pitch stability.

• Exponential FM: Common in analog gear. Pitch changes follow a musical scale (volts per octave), but as modulation depth increases, tuning can drift. Good for expressive or chaotic tones, but less stable.
• Linear FM: Modulation is applied evenly across the frequency range. Tuning stays more stable, especially with deep modulation — making it ideal for bell tones and clean digital-style FM.

Some oscillators also support through-zero FM, which allows modulation to dip below zero Hz and flip polarity. This makes modulation smoother and more symmetrical, and both linear and exponential FM can be implemented as through-zero depending on the design.

FM in the Digital World (DX7 & Beyond)

In digital synths, FM gets even more controlled. The Yamaha DX7 made FM famous by using precise phase modulation between sine wave operators — but it’s often referred to as FM anyway.

Each "operator" is a digital oscillator that modulates or is modulated by others in a defined algorithm. This method is stable, flexible, and super musical — and capable of way more than analog FM when it comes to pitch accuracy and envelope control.

• Digital FM = precise, controllable, and clean.
• Analog FM = raw, wild, and sometimes unpredictable — in a good way.

Getting Started

The best way to understand FM is to just try it. Patch an audio-rate oscillator into another’s FM input, mess with tuning, and modulate the modulator. Or grab a complex oscillator (like a 2-op FM module) and just start twisting knobs. That’s where the fun — and the magic — happens.