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FS1RE1
User Manual
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Yamaha FS1RE1 User Manual

OWNER’S MANUAL
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic
products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.
CAUTION
RISK OFELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equi­lateral triangle is intended to alert the user to the presence of important oper­ating and maintenance (servicing) instructions in the literature accompa­nying the product.
The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the pres­ence of uninsulated “dangerous volt­age” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock.
Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.
Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.
92-469- 1
Model Serial No. Purchase Date
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING- When using any electrical or electronic product,
basic precautions should always be followed. These precautions include, but are not limited to, the following:
1. Read all Safety Instructions, Installation Instructions,
Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.
2. Do not attempt to service this product beyond that
described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.
3. Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.
8. This product was NOT designed for use in wet/damp
locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.
9. This product should be used only with the components
supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.
10. The power supply cord (plug) should be disconnected
from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity.
11. Care should be taken that objects do not fall and
liquids are not spilled into the enclosure through any openings that may exist.
4. DANGER-Grounding Instructions: This product must be
grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!
5. WARNING: Do not place this product or any other
objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.
6. Ventilation: Electronic products, unless specifically
designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.
7. Temperature considerations: Electronic products should
be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.
12. Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have
been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked
change in performance; or e. The product has been dropped, or the enclosure of the
product has been damaged.
13. This product, either alone or in combination with an
amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.
14. Some Yamaha products may have benches and/or
accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.
92-469- 3
PLEASE KEEP THIS MANUAL
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Y amaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.
NEDERLAND / THE NETHERLANDS
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
• Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425
• For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:
Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425
occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLYto those products distributed by Yamaha Corporation of America or its subsidiaries.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
Connecting the Plug and Cord
GREEN-AND-YELLOW: EARTH BLUE : NEUTRAL BROWN : LIVE
• Gooi de batterij niet weg, maar lever hem in als KCA.
• Do not throw away the battery. Instead, hand it in as small chemical waste.
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel.
• Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument
inspected by qualified Yamaha service personnel.
• Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument.
• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 17.)
• Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands.
• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.
• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it.
• Do not connect the instrument to an electrical outlet using a multiple­connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.
• Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms.
• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum.
• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components.
• Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products.
• Do not place the instrument in an unstable position where it might accidentally fall over.
• Before moving the instrument, remove all connected cables.
• When cleaning the instrument, use a soft, dr y cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.
• Use only the stand/rack specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over.
• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.
■ REPLACING THE BACKUP BATTERY
• This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Battery Low" will display in the LCD. When this happens, immediately back up your data (using an external device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then have qualified Yamaha service personnel replace the backup battery.
• Do not attempt to replace the backup batter y yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery.
• Never place the backup batter y in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately.
■ SAVING USER DATA
• Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunction or user operating error.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
(1)-3
Congratulations!
Your FS1R Format Shaping/FM Synthesis Tone Generator gives you the power of two extraordinary tone generation systems in one compact, easy-to-use rack-mount unit. Formant Shaping synthesis gives musicians unprecedented capability to produce and control sounds with characteristics and flexibility similar to that of the human voice. It can also produce instrument voices that have the response and rich pitch-dependent timbral variations. FS technology also lends itself ideally to FM synthesis, similar to the type introduced in the legendary Yamaha DX-series synthesizers and TX-series tone generators. In addition to unprecedented voicing versatility and expressive scope, the FS1R features an advanced control interface that facilitates both real-time performance control and editing.
Please read this owner’s manual carefully, and follow the instructions within in order to ensure proper operation. Also keep this manual in a safe place for later reference.
6
Contents
FS (Formant Shaping) and
FM (Frequency Modulation) Synthesis........................8
FS Synthesis ......................................................................................8
*Formant Control...........................................................................9
*Formant Sequences:“FSeqs” ....................................................10
*Other Formant Applications ......................................................11
FM Synthesis....................................................................................11
*FM In Brief .................................................................................12
Putting It All Together.......................................................................13
The Controls & Connectors ........................................14
Front Panel.......................................................................................14
Rear Panel .......................................................................................16
Setting Up .....................................................................17
Power Supply...................................................................................17
MIDI Connections ............................................................................17
*Keyboard...................................................................................17
*Sequencer or Computer............................................................18
*G50 Guitar MIDI Converter .......................................................18
*WX-series Wind MIDI Controller................................................18
Audio Connections ..........................................................................19
*Headphones..............................................................................19
*Instrument Amplifier or Stereo Sound System ..........................19
*Mixing Console..........................................................................19
Power-on Procedure ........................................................................20
Play the Demo..................................................................................20
The PLAY Mode............................................................21
Performance & Voice Organization .................................................21
*Performance Combinations.......................................................21
*Voices........................................................................................21
*Bank Selection via MIDI ............................................................22
The Play Mode (Performance).........................................................22
Perf Ch (Performance Channel) .................................................23
(Bank) .........................................................................................23
(Program Number)......................................................................23
Pfm Vol (Performance Volume)...................................................23
Pfm Pan (Performance Pan) .......................................................23
RevRtn (Reverb Return)..............................................................23
VarRtn (Variation Return) ............................................................24
PfmNSft (Performance Note Shift) ..............................................24
The PART ASSIGN Mode.................................................................24
Rcv Ch (Receive Channel) .........................................................25
Rcv Max (Maximum Receive Channel: parts 1 & 2 only)...........25
(Bank) .........................................................................................25
(Program Number)......................................................................25
Volume ........................................................................................25
Pan..............................................................................................25
RevSend (Reverb Send).............................................................26
VarSend (Variation Send)............................................................26
InsEfSw (Insertion Effect Switch)................................................26
DryLvl (Dry Level) .......................................................................26
Filter (Filter Frequency Offset)....................................................26
NoteSft (Note Shift) .....................................................................26
The [MUTE/SOLO] Button in the Part Assign Mode...................26
The Search Function.............................................................................27
EDITING.........................................................................28
General Editing Procedure ..............................................................28
The [MUTE/SOLO] Button in the Edit Modes .............................29
EDIT [PERFORMANCE] ...................................................................30
COMMON ...................................................................................30
*CtrlSrc (Control Source).......................................................30
*CtrlDst (Control Destination) ................................................31
*Fseq (Format Sequence) .....................................................32
*Others...................................................................................35
PART ...........................................................................................37
*Tone......................................................................................37
*EG (Envelope Generator).....................................................39
*Pitch......................................................................................40
*Others...................................................................................41
STORE PERFORMANCE.............................................................44
RECALL PERFORMANCE...........................................................44
EDIT [EFFECT].................................................................................45
Effect Signal Flow .......................................................................45
Rev..............................................................................................45
Type .......................................................................................46
Type-Specific Reverb Parameters.........................................46
Reverb Pan ............................................................................46
Rev Return .............................................................................46
Var...............................................................................................46
Type .......................................................................................46
Type-Specific Variation Parameters.......................................46
Var Pan ..................................................................................47
Var Return..............................................................................47
SendVar→Rev........................................................................47
Ins ...............................................................................................47
Type .......................................................................................47
Type-Specific Insertion Parameters.......................................47
Ins Pan...................................................................................47
SendIns→Rev.........................................................................48
SendIns→Var..........................................................................48
InsDryLevel............................................................................48
EQ ...............................................................................................48
Low Freq................................................................................48
Low Gain................................................................................48
Low Q ....................................................................................48
Low Shape.............................................................................48
Mid Freq.................................................................................49
Mid Gain ................................................................................49
Mid Q .....................................................................................49
High Freq...............................................................................49
High Gain...............................................................................49
High Q ...................................................................................49
High Shape............................................................................49
EDIT [VOICE] ...................................................................................50
COMMON ...................................................................................50
*LFO1 (Low Frequency Oscillator 1).....................................51
*LFO2 (Low Frequency Oscillator 2).....................................52
*Filter......................................................................................53
*PitchEG (Pitch Envelope Generator)....................................57
*Others...................................................................................58
OPERATOR .................................................................................61
*Osc (Oscillator) ....................................................................62
*EG (Amplitude Envelope Generator) ...................................66
*FrqEG (Frequency EG).........................................................67
*Sns (Sensitivity) ....................................................................68
STORE VOICE.............................................................................70
RECALL VOICE...........................................................................70
UTILITY Functions .......................................................71
SYSTEM ...........................................................................................71
*Master........................................................................................71
*MIDI ...........................................................................................72
*Control .......................................................................................74
*Others........................................................................................76
DUMPOUT .......................................................................................77
*DUMPOUT Operation................................................................77
INITIAL .............................................................................................78
DEMO...............................................................................................78
Troubleshooting ...........................................................79
Alert Display .................................................................82
Specifications...............................................................83
Index..............................................................................84
7
FS (Formant Shaping) and FM
(Frequency Modulation) Synthesis
FS (Formant Shaping) and FM (Frequency Modulation) Synthesis
Although based on Yamaha’s newly developed FS (Formant Shaping) synthesis technology, The FS1R actually integrates two tone generation concepts for extraordinarily broad voicing versatility. Formant Shaping synthesis gives musicians unprecedented capability to produce and control sounds with characteristics and flexibility similar to that of the human voice. It can also produce instrument voices that have the response and rich pitch-dependent timbral variations — in short, the “musicality” — of natural acoustic instruments. The bonus is that the base FS technology has been realized using an architecture which also lends itself ideally to FM synthesis, similar to the type introduced in the legendary Yamaha DX-series synthesizers and TX-series tone generators. Thus the FS1R can create anything from totally new simulations of human vocal sounds to classic DX electric piano voices, and anything in between.
FS Synthesis
The term “formant” refers to the distinct spectral patterns which define the recognizable sounds of human speech, such as the vowels “a” or “i.” In human speech, the vocal cords themselves are only capable of creating the basic driving sound and defining pitch (similar to the oscillator in a music synthesis system). The formants which define the sounds of speech are created by the shape of the vocal cavity (i.e. the trachea and mouth). In traditional speech synthesis systems this is simulated by using an oscillator to perform the function of the vocal cords, and a series of controllable bandpass filters to create the required format shapes. Consonant sounds such as “k” or “t,” and fricatives such as “f,” are based on slightly different principles, requiring a noise generator rather than an oscillator, and depending more on amplitude envelope shape than formant shape for recognizability. Formants play an important role in defining the sound of many acoustic musical instruments as well as the human voice.
Rather than a cumbersome system of oscillators and filters to synthesize the effect of formants, the FS synthesis system consists of 16 formant “operators” — 8 “voiced” operators, and 8 “unvoiced” operators (3 to 5 formants are generally considered to be more than enough to synthesize speech). Each operator digitally simulates the effect of both the driving source (oscillator) and filter in one easily manageable unit. The voiced operators produced pitched sounds which can be played on a musical scale via a MIDI keyboard or other MIDI controller. The unvoiced operators can be used to produce noise components of speech-like sound, or they can be used in much the same way as noise generators in more orthodox synthesis systems (e.g. to produce percussive sounds or sound effects). The term “operators” is borrowed from Yamaha FM synthesis, because the FS1R’s voiced operators can be combined in a variety of “algorithms” to create sound in exactly the same way as in the original FM synthesizers such as the DX7.
Operators
Voiced
1 2 3 4 5
Unvoiced
Formants
6 7 8
8
■ Formant Control
Each formant operator has a range of parameters which determine its shape and therefore contribute to the overall sound: center frequency, level, width, and skirt (the shape of the “flare” at the bottom of the formant’s bell-shaped response curve).
Center Frequency
Level
Skirt
Width
As an example, suppose we have a formant configuration that produces an “a” type sound. This can be changed to an “i” sound by shifting the center frequencies and levels of the formants. If this is done in real time at an appropriate speed, we produce the sound “ai”.
=“a”
=“i”
This type of formant control can be accomplished in the FS1R in several ways. First, independent frequency and level envelope generators are provided for each operator, so time-based timbral shifts like the one described above can be achieved entirely by using the envelope generators. Second, any of the available controllers can be assigned to the formant parameters — the control knobs, a modulation wheel, foot controller, etc. — to allow realtime manual control while playing. Either of these methods of formant control are all you’ll need to create musical sounds for most applications, but the last and most complex type of formant control on the FS1R is made possible by “FSeqs” (Formant Sequences), described in the following section.
9
EG, LFO1, Velocity, and Manual Formant Control Parameters
The following parameter groups and parameters are essential for EG-based formant control. Refer to the parameter descriptions for details:
• EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
• EDIT [VOICE] mode OPERATOR/EG/ ......................................................Page 66
• EDIT [VOICE] mode OPERATOR/FrqEG/.................................................Page 67
• EDIT [VOICE] mode OPERATOR/Sns/ .....................................................Page 68
The following parameter groups and parameters are essential for manual and MIDI formant control. Refer to the parameter descriptions for details:
• EDIT [PERFORMANCE] mode COMMON/CtrlSrc....................................Page 30
• EDIT [PERFORMANCE] mode COMMON/CtrlDst....................................Page 31
• EDIT [PERFORMANCE] mode PART/Tone/Formant.................................Page 37
• EDIT [PERFORMANCE] mode PART/Tone/FM .........................................Page 37
• EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
• EDIT [VOICE] mode OPERATOR/Sns/Freq Bias......................................Page 69
• EDIT [VOICE] mode OPERATOR/Sns/Width Bias....................................Page 69
• EDIT [VOICE] mode COMMON/Others/Formant .....................................Page 59
• EDIT [VOICE] mode COMMON/Others/FM..............................................Page 59
The following parameter groups and parameters are essential for LFO1 formant control. Refer to the parameter descriptions for details:
• EDIT [VOICE] mode COMMON/LFO1/FreqModDepth ............................Page 52
• EDIT [VOICE] mode OPERATOR/Sns/Freq Mod......................................Page 70
The following parameter groups and parameters are essential for velocity formant control. Refer to the parameter descriptions for details:
• EDIT [VOICE] mode OPERATOR/Sns/FreqVelocity..................................Page 68
■ Formant Sequences: “FSeqs”
In addition to envelope generator, LFO1, velocity, and manual control, the FS1R features a range of 90 preset FSeqs (Formant Sequences) which can be used to “sequence” the formants to produce voice-like phrases, rhythm loops, and more. FSeqs are sequences of formant frequency, fundamental pitch, and level data which have been created by analyzing the formant content of actual sounds. FSeq playback speed can be set at a fixed value, controlled via a MIDI clock signal, varied by note velocity (e.g. keyboard dynamics) or varied manually when the “scratch” Fseq mode is selected. And since the sound of formants is not pitch dependent, FSeq playback speed and pitch can be varied over an extremely wide range without altering the basic timbre of the sound (something that even the best samplers cannot do).
Fseqs actually have 8 “tracks”, each of which contains the frequency and level data for one operator pair (voiced and unvoiced). Normally, the Fseq tracks are assigned to the corresponding operator pair, but these assignments can be changed for special effects.
10
FSeq Formant Control Parameters
The following parameter groups and parameters are essential for FSeq formant control. Refer to the parameter descriptions for details:
• EDIT [PERFORMANCE] mode COMMON/Fseq/ .....................................Page 32
• EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
■ Other Formant Applications
By modifying our approach slightly and thinking of each FS1R formant operator as a combination of oscillator, filter, and amplifier (similar to the standard VCA → VCF → VCA structure of traditional analog synthesizers), it is possible to come up with some innovative uses for these flexible sonic building blocks. For example, although each formant is basically a bandpass filter, if we broaden the bandwidth enough and lower the center frequency we end up with what looks more like a low pass filter. If we add another narrow-bandwidth formant to our low-pass filter we end up with a resonant low-pass filter.
Synthesized Low-pass Filter Synthesized Resontant Low-pass Filter
The unvoiced operators also offer some unique possibilities. Although they basically produce noise, if the bandwidth of the formant is made narrow enough we remove all harmonics and end up with a pure sine wave. Thus, in some applications the unvoiced operators can actually be used as extra oscillators.
FM Synthesis
The fact that Formant Shaping synthesis uses a system of operators to produce sound is what makes it compatible with FM (Frequency Modulation) synthesis. By rearranging the operators into a variety of “algorithms” with carrier/modulator relationships between certain operators, the FS system is fully capable of producing the same type of FM sounds as the Yamaha DX-series synthesizers and TX-series tone generators.
The FS1R actually takes FM synthesis to new levels of musical versatility and control. Unlike Yamaha’s original FM synthesizers and tone generators the FS1R provides a range of 88 algorithms to choose from, and a choice of 8 different waveforms for each oscillator, thus significantly expanding the range of sound which can be produced. And, of course, the ability to combine Formant Shaping with FM opens a whole new universe of musical possibilities.
Not only is the FS1R capable of reproducing the great sounds of the DX and TX-series instruments, it actually comes with a complete set of 1,152 original DX voices pre-programmed in preset memory If you have other DX voices you have programmed yourself or obtained from other sources, they can be loaded into the FS1R too, and used with virtually no change in sound (See the separate “Data List” booklet for details on parameter compatibility).
nThe FS1R can receive bulk voice data from Yamaha DX-series synthesizers and TX-series tone generators. The received data (single voice)
will be loaded into the part 1 voice edit buffer of the currently selected performance setup.
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■ FM In Brief
Briefly, FM synthesis is based on arranging operators — individual oscillators which can function as both modulators and carriers — in “algorithms” capable of producing the desired sound. the most simple algorithm (algorithm 1 in the FS1R) simply add the output of all 8 operators together, with no modulator-carrier relationships. This algorithm is ideal for synthesizing simple “additive” sounds — like some organ voices, for example.
Much more complex harmonic spectra can be produced by using algorithms in which one or more operators function as modulators, modulation the output of their respective carrier operators. In algorithm 6, for example, operator 1 modulates operator 2, operator 3 modulates operator 4, and operators 5 through 8 are unmodulated. Algorithm 2, on the other hand, includes a modulator “stack” in which operator 1 modulates operator 2, which in turn modulates operator 3, which in turn modulates operator 4.
Note that in all three algorithms introduced above, operator 1 includes a feedback loop which allows a specified portion of the operator’s output to be fed back to its own input for even greater timbral complexity. Since each operator has its own amplitude EG, a virtually unlimited spectrum of responsive, musical voices can be produced.
FM Synthesis Parameters
The following parameter groups and parameters are essential for basic FM synthesis. Refer to the parameter descriptions for details:
• EDIT [VOICE] mode COMMON/Others/...................................................Page 58
• EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
• EDIT [VOICE] mode OPERATOR/EG/ ......................................................Page 66
• EDIT [VOICE] mode OPERATOR/Sns/ .....................................................Page 68
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Putting It All Together
Please note that the parameter groups referred to in the preceding sections are only those that apply directly to the FS or FM functions mentioned. Keep in mind that there is an extensive range of others — envelope generators, filters, low-frequency operators, and more — which apply to both FS and FM voices. There’s also a comprehensive effect system including reverb, delay, modulation, and many, many more effects that can be used to refine and polish your sound.
Indeed, the FS1R is a complex tone generator, and a thorough understanding can only be achieved through experimentation. If you want to go beyond the presets provided (although they should be more than enough for many applications), we urge you to go ahead and play with the parameters. Try editing the presets to create variations. And when you’re ready for some serious programming try initializing a few internal voices (voice initialization on page 78) and starting from scratch. Keep the manual handy and refer to the parameter descriptions in the “EDITING” section (starting on page 28) to guide you.
The following diagrams show an overall view of how the tone generator PERFORMANCE and VOICE parameters are related, and how the performance parts connect to the FS1R effect system.
FS1R Tone Generator Structure
VOICE
VOICED OPERATOR
UNVOICED OPERATOR
FILTER
LFO1
LFO2
PITCH EG
FILTER SW
FSEQ PART
INS EF SW
INSERTION
FSEQ
PERFORMANCE
REV/VAR SEND
REVERB
VARIATION
CONTROLLER
EQ
IND.OUTPUT
OUTPUT
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The Controls & Connectors
The following brief descriptions of the FS1R controls and connectors should help you to understand the overall logic of the interface.
Front Panel
1 2 3 4
5 6 7 8 9 ) !
^ $% # @
1 PHONES Jack
Accepts a standard pair of stereo headphones (1/4” stereo phone plug) for headphone monitoring of the FS1R sound without the need for external amplification equipment. The volume of the headphone sound is adjusted via the [VOLUME] control.
2 Volume Control
Adjusts the volume of the PHONES and rear-panel R and L/MONO outputs (the VOLUME control does not affect the INDIVIDUAL OUTPUT jacks). Rotate clockwise to increase output volume.
3 Display
This large backlit liquid crystal display panel shows all parameters and prompts necessary for easy, efficient operation and programming of the FS1R. In addition, a row of icons across the bottom line of the display simultaneously shows the status of a number of important parameters (page 22).
The display contrast can be adjusted as described on page 76 for optimum visibility.
6 EDIT Buttons: [PERFORMANCE], [EFFECT], and [VOICE]
These buttons activate the corresponding FS1R EDIT mode.
The EDIT [PERFORMANCE] button provides access to all parameters and functions you’ll need to edit and create new performance setups.
The EDIT [EFFECT] button takes you a range of effect and EQ parameters that you can use to add the finishing touches to your sound.
The EDIT [VOICE] button allows detailed editing of individual voices.
Details on pages 30, 45, 50.
7 [MUTE/SOLO] Button
In any mode other than Voice Edit the [MUTE/SOLO] button can be used to mute or solo monitor the currently selected performance part. In the Voice Edit mode, it can be used to mute or solo monitor the selected operator.
4 [UTIL] Button
Selects the FS1R UTILITY mode. The UTILITY mode includes a range of important utility functions that affect operation of the FS1R: SYSTEM, DUMP OUT, INITIAL, and DEMO.
Details on page 71.
5 [PLAY] Button
Press this button to select the FS1R PLAY mode in which performance setups and individual voices can be selected and played. While the PLAY mode is active, pressing the [PLAY] button activates the Rehearsal function which plays the currently selected voice for quick, convenient sound-checks.
Details on page 22.
8 PART [ ] and [ ] Buttons
When the PLAY mode is selected (page 22) these buttons select the part (voice) to be played or edited. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. Pressing both buttons simultaneously switches to the Performance Select (ALL parts) play mode.
When the EDIT mode is selected the PART buttons can be used to switch between parameters without having to return to the EDIT mode menu.
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