FM Synths

Frequency Modulation 

Frequency Modulation is where an original audio sample/patch gets a modulating wave added to it to create new harmonics, frequencies and subsequently, new sounds. You never actually hear the modulator, but you do hear the effect on the original signal. Once the frequency of the modulator gets up into the audio range, you stop hearing vibrato and start hearing new frequencies appear in your carrier. The modulating wave would be on an oscillator so it would come in and out of audio range.The new frequencies that are created are called sidebands. They can appear both above and below the original frequency. The number, frequency and amplitude of the sidebands are controlled by modifying the ratio, as well as the amount of modulation. Even ratios (2:1, 1:4, etc) tend to make harmonic sidebands, where non-even ratios (1.53242643:1) tend to create out-of-tune, lo-fi, enharmonic sounds.

Here's an example of an FM Synth:

FM Synths: Korg M1, Yamaha DX7

FM is also applied in the use of radios. The radio station sends out a carrier frequency, whilst your car/device sends out a modulating wave (which sounds like white noise) so that when the two meet, they play the carrier frequency through your car/device. 

Rock & Roll Summary

Started from African-European music. Evolved to Blues, which was well known for Call & Response, and the Blues Scale; C Eb F Fb G Bb. This scale is used in Rock & Roll.

Rock & Roll was targeted for teenagers. Its was seen as a dangerous new thing that parents didn't understand. It gave teens something to do.

Stylistic Fingerprints of Rock & Roll:
Rhythm- Fast tempos (140bpm+), 4/4 time sig, use of swing, some brushes on kits
Instrumentation- Vocals, Guitar, Bass (+double bass), drum kit, piano, use of horn sections and tenor saxophones.
Tonality & Harmony - Big use of Major keys, simple harmony, I V VI blues chord progression, walking bass, alternate 5th bass.
Texture- Use of riffs, often doubled on bass and guitar, call & response in vocals, guitar and horn parts.
Production/Effects - Reverb (in later recordings, tremolo and slap-back delay)

Live recording direct to tape. Levels were done on the mixing board. Poor frequency reproduction. One overhead mic on drums. Music was released on vinyl, because it has wider frequency reproduction and better dynamic range. Echo chambers were used to create reverb. Distorted rock guitar sound.

Elvis Presley:
-First commercial success - mid 1950's
-First single- 'That's all right' (1954)
-First Hit - 'Heartbreak Hotel' (1956)
-Recorded at Sun Records, RCA

Chuck Berry:
-Highly influential to the Rock and Roll genre
-Energetic live shows, showmanship and guitar solos
-Controversial lyrics about teen angst
-Signed to Chess Records in 1955.
-Singles- "Maybellene", "Roll Over Beethoven" & "Johnny B. Goode"

Little Richard:
-Influenced by Gospel
-Songs would have shouts, screams and interjections
-Lyrics that were suggestive and playful
-Singles: "Lucille", "Tutti Frutti" & "Long Tall Sally"

Fats Domino
-Pianist and Vocalist
-"The Fat Man" in 1950 was well known for it's wah-wah vocal style and rolling stride piano.
-First mainstream pop track "Ain't That a Shame"
-"Blueberry Hill" sold 5 million copies

Jerry Lee Lewis
-Vocal screams/shouts/interjections
-Recorded at Sun Records
-Often joined as an ensemble audition for Elvis Presley and Carl Perkins
-Hits "Great Balls of Fire" and "Whole Lot of Shakin' Goin' On"

Bill Haley:
-His band were called "The Comets"
-Smash-hit "Rock Around The Clock" <- sold 25 million copies
-Other singles "Shake Rattle and Roll" and "See You Later Alligator"

Bo Diddley
-Hard, Tribal Rhythm
-Use of Clave Rhythm
-Most famous songs "Who Do You Love?" & "Bo Diddley"

Gene Vincent
-His band were called "The Blue Caps"
-Hit with "Be-Bop-A-Lula" (1956)
-Other hits are "Blue Jean Bop" and "Race With The Devil"

Eddie Cochran
-Known for Distortion & Overdubbing
-Played a Gretsch 6120
-Signed by Liberty Records
-Often would bend notes up a whole tone
-Songs: "Summertime Blues", "Come On Everybody" & "Somethin' Else"

The Everly Brothers
-Late 50's & Early 60's
-Known for Steel String Guitars & Close Harmony Singing
-Signed to Warner Bro's, Mercury 
-Songs: "All I Have To Do", "Bye Bye Love" & "Wake Up Little Suzie"

Roy Orbison
-Nicknamed the 'Big O'
-Known for Complex Compositions & Dark emotional ballads
-Played a Fender Stratocaster
-Mainly signed to Monument Records
-Songs: "Oh Pretty Woman", "Only the Lonely" & "It's Over"

Carl Parkins
-Recorded at Sun Records
-Singer Songwriter
-Songs: "Blue Suede Shoes", "Matchbox" & "Honey Don't"

Buddy Holly
-Played with "The Crickets"
-Guitarist & Singers
-Contracted with Decca Records
-Songs: "Peggy Sue", "That'll Be The Day" &"Everyday"

Duane Eddy
-Guitarist
-Known for a 'twangy' sound. Pluck + Open
-Worked on: "Peter Gunn", "Forty Miles of Bad Road" &"Cannonball"
-Played a Gretsch 6120
-Sold 12 million records by 1963

Conventions of Trance Music

Trance

Time Signature is usually 4/4 as that is the beat that people can dance to easier.
Between 120-150bpm. It tends to be faster than house music.
A 'four to the floor' drum pattern is normally used.
In trance music the mixing of layers distinctly shows a strong build-up and release.
They often have one strong, catchy melody line that is repeated throughout the whole song.
Fast Arpeggios and Minor Keys and Chords are used.
Drums and Bass are usually made electronically and often have a deep bass sound to them.
Reverb is usually used on claps or crashes at the end of bars/sections in the song to give a fading/blending effect. Low Pass Filters may be used on harmonic instruments to put more emphasis on the deep drum and bass parts.
Synthesizers are extremely common. Different presets or techniques may be used, so artists can change the sound of synths, using ADSR, Resonance, and Pitch.
Songs usually fade in/out so that artists can blend two songs together, in a compilation style.

Compression

Compression reduces the dynamic range of a piece of music. It brings the loudest points (that are over a certain threshold) down, so you can then bring the overall volume up.
Dynamics is the relative loudness or volume of the piece of music, and how it changes throughout the song.

During the 1940-1950's, someone would manually control the dynamics. Eventually something was made to control it automatically.

Compression works by monitoring an input and using the data to effect the output. It reduces the volume of the loudest points in the signal, so they loudest parts are closer to the quietest parts.



The ratio is how much you turn the loudest points down by.
A limiter is something that makes sure it doesn't go past the threshold.

Compression settings:
*Threshold- how loud the signal has to be before compression is applied
*Attack- how quickly the compression changes the volume. How long with a frequency stay over the threshold before compression is applied.
*Release- How long does it take the compressor to turn down
*Makeup Gain- when you turn the whole piece of music up, after applying compression.

Microphones

Dynamic Mic.

Condenser Mic.

Ribbon Mic.

Polar Pattern

• Cardioid - Picks up some sound from the side, lots from the front but rejects it at the back.

• Omnidirectional - All the way around, like a balloon. Best as a room mic.

• Bidirectional - Picks up at the front and back, but nothing at the sides.