Creating a Gliding Trance Lead with FM8

This tutorial focuses on creating a Gliding Trance Lead in FM8. Created by our own FM8 guru, Jonny Strinati, this Gliding Trance Lead will make your ear drums happy!

In this video tutorial, Jonny Strinati takes us through the creation of an FM8 Gliding Trance Lead. This Trance Lead is an easy sound to perfect. The Gliding Lead is a great sound for both the beginner and the intermediate FM8 sound designer, and can be created in minutes!

Beginning with a new sound, activate Operators B through Operator F. All the Operators should be routed through the Filter (Operator Z).

Set Operator F to a TX Wave 4 Waveform. Increase it’s ratio to 3.00, and set the Offset to -0.28. Set Operator E to a 1+3+5 Square Waveform. Increase Op E’s ratio to 2.50 and set the Offset to 0.28. Operator D should also be given a 1+3+5 Square Waveform with a Ratio of 2.01, and an Offset of -0.24. Operator C can be left as a Sine Wave, but give it a Ratio of 1.50 and an Offset of 0.37. Finishing up with the Operator settings, Operator B should be given a Sawtooth Waveform with a Ratio of 1.00 and an Offset of 0.40. Lastly, you will want to make sure that Key Sync and Pitch Env has been enabled for all the Operators.

In the FM Matrix, you will want to set each operator to feedback on itself. Starting with OP B, set it to feedback on itself at a level of 41. OP C should feedback on itself at a level of about 9. OP D should feedback on itself at a level of 29. OP E should feedback on itself at a level around 4, and OP F should feedback on itself at a level of 34.

Still in the FM Matrix, route Operator B to modulate Operator E at a level of 17. Operator D should be routed to modulate Operator F at a level of 30, and Operator Z (the Filter) should be routed to modulate Operator C at a level of 22.

Now under the Master Section, increase the Voices to 2, and set the Unison Pan all the way up. The Analog quality should be around 55%, enable Mono under the Polyphony section, and then turn on Portamento and give it a glide time of 19. Lastly, bring the sound down an Octave by setting the Pitch to -12.

Under the Modulation tab, Sync the LFO 1 with the Pitch adding +15 to the modulation. Enable Sync and Key Sync, then change the LFO 1 Waveform to a Sine Wave. Turn the Delay, Key Scale, and Velocity Scale parameters all the way down. Then turn then Rate up to about 61.

Next we will set up the envelopes. For Operators B, C, and D, we will have the same envelope. Link them, and then pull the sustain down a bit, and give it a slight release. Link Operators E and F, and set up their envelope much like the others. The only exception is that we want to decrease the attack time for Operators E and F.

Set up the Filter, by pulling the Cutoff of Filter 1 to about 20. Set the Resonance to around 20, and the Mode all the way to the left. Under the Amplitude, turn the Envelope Amount (Env Amt) all the way up to 100. Next, set the Envelope for a more “plucky” sound. Turn off the Sustain, and turn down the Attack, leaving a smooth decay.

Lastly, we will add the effects. Add a Shelving EQ, and boost the High End up slightly. Add a Reverb, and pull the Dry/Wet down slightly.