Like FM7's Easy page, this presents you with basic editors for the commonly used parameters (eg, LFO rate, ADSR envelopes and effects). One noteworthy addition, though, is the Easy/Morph page. Some of FM8's windows are certainly familiar, though they have been slightly rearranged. It's also your gateway to the 32-stage envelopes, key scaling, spectrum display, modulation matrix and LFOs. The bottom half of the navigator is tied into the Expert page and gives you access to the operators themselves.
All of the usual suspects are in place, as are some complete amp cabinet simulations. The Effects page, however, is worthy of special mention.Īs in other NI products such as Reaktor and Kontakt, the effects are presented in a simple drag and drop rack. The pages include Browser, Attributes, Master, Effects, Arpeggiator, Morph and Expert, most of which are self-explanatory. This time around, the instrument comes in white and pale grey and features a navigator attached to its left-hand side that enables you to choose the editor page you want to work with. FM7 certainly made the programming process a bit less taxing, but FM8's cleaner, clearer interface makes it easier still. In its heyday, FM synthesis left many potential sound designers scratching their heads. The power of FM synthesis lies in the way you can use one or more of these operators to modulate any or all of the others to create new sounds. Though the original DX7 was limited exclusively to sine waves, FM8 offers 32 different waveforms - as a result, its sonic palette is considerably wider.
For those few who don't know, Native Instruments' take on Yamaha's flexible but flummoxing form of FM is based on a sextet of operators, each of which has a selectable waveform.
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