![]() ![]() Almost the antithesis to beginner-level subtractive, FM (frequency modulation) synthesis involves the modulation of an audible ‘carrier’ oscillator by an inaudible. ![]() So it's worth checking that nothing really important disappears or gets drastically unbalanced if the mix is converted to mono. In the 1980s, Yamaha’s DX7 keyboard popularised a glossier, cleaner approach to sound generation than that of analogue synthesisers: frequency modulation (FM) synthesis. Laptop/tablet speakers are pretty close together, some people only use one earbud and club systems are generally mono. I think it's always a good idea to try how a stereo mix sounds if dropped to mono - you never know what someone else might listen to it on. In the end I decided one amp and a mono chorus was much less hassle for me and any sound engineer who might be trying to deal with it. Depending on how the chorus was set I could make the guitar almost disappear thanks to phase cancellation between the amps so had to be careful where I put them. ![]() Once upon a time I used a two-amp guitar setup using a stereo chorus to split the guitar to the amps, one side "dry" the other "wet". FM8 is a must for those who want to get the most out of frequency modulation synthesis. Sometimes stereo chorus can sound quite different if the distance between the stereo speakers is changed. Phase cancellation can be an issue with any kind of chorus, mono or stereo. Which means I've learned something today which is never a bad thing. The FM's effects are stereo? I never realised. ![]()
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