As far as FL Studio free plugins go, this is definitely one of the most inspiring, multi-faceted options out there. Native Instruments are without the doubt the most renowned, acclaimed audio technology company in Their eclectic, innovative range of virtual instruments, effects and sounds have shaped the way many producers think about music creation.
Their range of Kontakt plugins are particularly popular, featuring a huge collection of VST software designed for virtually any music genre. In early , they released Kontakt Start, which includes a huge FREE collection of synthesizers, instruments, plugin effects and almost 1, loops and samples.
The next FL Studio free plugin on the list is the criminally underrated synthesizer: Dexed. This free plugin offers a staggering fully automatable parameters, including seemingly endless modulation options, filter controls and everything in between. The Dexed interface is far from beginner-friendly. This compact, innovative synth is capable of producing a massive range of sounds , including dirty, retro synth leads, funky basslines and smooth, hypnotic string ensembles.
Tyrell N6 is somewhat of a hidden gem in the VST plugin world. The plugin engine features 2 oscillators, noise, a ring modulator and 2 LFO s with 8 waveforms. It also features an audio source mixer with authentic overdrive and filter feedback. Plus, for producers looking for quick, creative inspiration, Tyrell N6 also comes with fully customizable presets with many more available online.
This plugin is sampled directly from the piano, creating a true, rich sound at every velocity. This FL Studio free plugin features an incredible selection of reverb parameters, harmonics, tone, perspective, damping controls and more, giving way to a huge amount of creative possibilities. Each 'knob' can be muted by right-clicking, which makes tracking down a wayward operator's modulation effect instantaneous.
However, I wish the matrix itself could be expanded while setting levels without expanding the whole synth panel. The other big difference between digital FM synthesis and basic Minimoog-style analogue frequency modulation is the amount of control over the operator itself. In the DX7, each sine-wave oscillator has its own envelope generator. In Sytrus , every operator has its own envelope and LFO; in fact, every operator is its own single-voice synth in itself, with control over pan, volume, modulation input, pitch, phase and pluck damping.
There is a tab for controlling the oscillator Shape, too, of which more later. All but the Osc Shape tab have their own envelope and LFO, as well as various other controller mappings. Each of these can affect the sound output, just as in any other soft synth. The power of FM synthesis, however, comes from modulating an audio operator the carrier with one or more other operators called modulators. A single carrier modulating itself makes the output 'buzzier', and the fun starts when you alter the pitch ratio of the modulator: octave ratios produce harmonic changes to the timbre, while whole steps and cents produce inharmonic distortion that can get downright ugly.
Judicious use of the amount of modulation and the modulator's envelope brings this distortion in and out. Sharp modulation with a quick decay is the basis for the infamous DX7 Rhodes piano sound heard on half the pop songs of the '80s, as well as the transient attacks of many other 'realistic' sounds.
Sytrus also adds ring modulation to the fun, which generates new frequencies related to the sum and difference of the carrier and modulator frequencies, and produces a totally different tone from FM.
While the implementation here does not sound as aggressive as many analogue ring modulators, it certainly provides another way to muck up your waveforms. Mention of waveforms brings us to the Oscillator Shape mentioned above.
The DX7 dealt strictly with sine waves, while later Yamaha FM synths had the standard palate of wave shapes available. With Sytrus , you roll your own. Underneath the top row of tabs for choosing the Main and Operator pages are controllers for Operator Shape. While this is not as simple as picking from a given set of shapes, all the standard waveforms are there along with everything in between. All the changes show up in the oscilloscope display, while noise can be added via a fader before the output reaches the operator master controllers and the all-important Octave and Frequency tuning controls.
Version 1. Sytrus 2 allows you to lock the harmonics once you have the shape pinned down, and then export the resulting waveforms as audio. The settings for each of the six operators. The Osc tab allows you to draw in harmonics and provides a big oscilloscope view of the waveform. Both the envelope and LFO controller tabs also let you draw slopes and breakpoints, and the results can be saved. As you start to count up the number of controllers for each Sytrus operator, you get six times eight.
That is 48, multiplied by six operators. Add in a 'plucked' mode in the Oscillator page, which disables the FM but uses damping to simulate the roll-off of plucked strings, and the variable wave shapes, and the permutations might start to hurt your head. If FM synthesis seems like a tweaker's heaven and rather intimidating, it doesn't have to be. Just because all the functions are available doesn't mean you have to use all of them all of the time.
Many interesting sounds — including many of the presets available for Sytrus 1. Alternatively, you don't need to use the frequency-modulation capabilities at all: you can use Sytrus as a conventional six-oscillator subtractive synth. With unlimited numbers of breakpoints in the envelope generators for each operator and filter, long, evolving patches are no harder to design than with any other synth.
Image Line have also added a new feature for envelopes that I haven't seen before: arpeggiation. Arpeggiation points and directions can be added within the envelope slope, just like breakpoints. When a chord is held down, all the notes sound, but the envelopes alternate, adding a sequenced feel to oscillators, filters or anything that can be controlled by an envelope.
Version 2 adds another four filters to this list, in case the previous eight couldn't fill up your sonic plate. Low-pass, band-pass and high-pass filters are available all at once, as well as attendant envelopes, LFOs and other controllers for each type of filter.
Another nice touch is control over the amount of filter resonance, not just cutoff. The sound of Sytrus leans toward the bright and digital, so it probably wouldn't be my first choice as a virtual analogue synth, although it can still do a respectable job. And with all the control available, it is more like a virtual modular rather than a hard-wired emulation. With six oscillators per voice, Sytrus can also do simple additive synthesis, and many of the organ patches use this technique.
The Hammond and pipe organ patches will please all but the purists, but my favourite organ patches and one of the reasons I originally got Sytrus are the Farfisa sounds. They cut cleanly through the thickest mix, give a guitarist keyboard envy and make everyone else in the band want to cover '96 Tears'.
Other voicings that FM and Sytrus do particularly well are bells and other such inharmonic instruments. The strings are good alternative if you are looking for something other than realistic samples or thick analogue string machines.
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