On the other hand, if you realize at least at a vague theoretical level, to begin with that this kind of dynamic formant synthesis control is giving you access to an aspect of music and sound synthesis which is fundamental to what distinguishes a wide variety of "natural" instruments from each other, and that, combined with that, you have an instrument which makes the high-end 6 operator FM synths of yore look puny by comparison 8 operators, and you can use a range of different oscillators, not just sine, for each of them, including interesting detailed control of noise for non-voiced ops , well, this thing's basically theft at the price you can get it for right now.
If you have a spider in the family she'll be a great help in accessing the various features with the tiny buttons. If you have short, stubby fingers you may want to invest in a set of toothpicks to help you access the button-controlled features. I suspect ultimately that's how Yamaha managed to provide such massive synth technology at such an amazing price -- they nourished the mind and soul, but punished the body with this thing. Go to www. INS def there.
I would advise reading up a little on FM synthesis to the point where youre comfortable with the jargon of operators, skirts, 8-operator algorithms, etc. What people and reviews fail to mention is that, among the 90 FSEQs included, youre not stuck with just playing them back the way they come by default in the instrument -- theres all sorts of ways to rearrange, even reverse them, so that you are using them very much like the way you work with wavetables on an MWXT though theyre nothing like latter in theory or result, just in the way you can work with them.
This is definitely a study it synth; itll be awhile until I really start turning out interesting results with one and Ive been fiddling with it for months already.
On the other hand, if you realize at least at a vague theoretical level, to begin with that this kind of dynamic formant synthesis control is giving you access to an aspect of music and sound synthesis which is fundamental to what distinguishes a wide variety of natural instruments from each other, and that, combined with that, you have an instrument which makes the high-end 6 operator FM synths of yore look puny by comparison 8 operators, and you can use a range of different oscillators, not just sine, for each of them, including interesting detailed control of noise for non-voiced ops , well, this things basically theft at the price you can get it for right now.
If you have a spider in the family shell be a great help in accessing the various features with the tiny buttons. I suspect ultimately thats how Yamaha managed to provide such massive synth technology at such an amazing price -- they nourished the mind and soul, but punished the body with this thing.
I've had this about a week,and it continually blows me away. The presets are both amazing and usefull and believe me,you will be mostly using the presets. It sounds incredible: an awesome combo of trippy digital and warm fat analog ish. It even has good drums!
It excells at vocal-type things. It does great fat heavy squelchy basses. And of course it can do everything a DX7 can do,times a million. The 4 knobs are a definite plus,and the midi control is flexible enough to easily use my phatboy with it. The OS,while deep and complex,is also logical-you're not going to program sounds from scratch on the front panel I hope!
I'm using it with sounddiver,and the implementation is complete-you can even edit Fseqs well,you can try. If I could,I'd give it a 4. The whole Fseq thing can be usable,but I've had to record bits and bring them into Soundforge to try and figure out the bpm so I could bring them into Cubase and add drums,etc. Many of the parameters,in fact all except the effects,are based on arbitrary numbers,and the ONLY correspondence to real life values EVER mentioned in the whole manual is "0 is the slowest speed setting,producing an LFO speed of approximately 0 Hertz"!!
Thanx for that bit of illumination Yamaha! Still,I love this synth! Michael Alexander wrote: Ive had this about a week,and it continually blows me away. The OS,while deep and complex,is also logical-youre not going to program sounds from scratch on the front panel I hope! Im using it with sounddiver,and the implementation is complete-you can even edit Fseqs well,you can try.
If I could,Id give it a 4. The whole Fseq thing can be usable,but Ive had to record bits and bring them into Soundforge to try and figure out the bpm so I could bring them into Cubase and add drums,etc. Many of the parameters,in fact all except the effects,are based on arbitrary numbers,and the ONLY correspondence to real life values EVER mentioned in the whole manual is 0 is the slowest speed setting,producing an LFO speed of approximately 0 Hertz!!
This was posted on the Tech forum by sitar: "The sound production has this incredible clarity to it that I wouldn't be able to describe. It's really true, the sound does have an indescribable sharpness to it. In Japanese you could say "sore wa kire desu", so go and look that up.
It has every type of synth sound that I've ever needed for all manner of music, and is a good source of inspiration to start a track. I can't recommend them highly enough, especially with the price they are at these days. Mike Clarke wrote: This was posted on the Tech forum by sitar: The sound production has this incredible clarity to it that I wouldnt be able to describe. I had to post it here as this was the first thing that I noticed about it when I started playing around with the machine.
Its really true, the sound does have an indescribable sharpness to it. In Japanese you could say sore wa kire desu, so go and look that up. It has every type of synth sound that Ive ever needed for all manner of music, and is a good source of inspiration to start a track.
I cant recommend them highly enough, especially with the price they are at these days. Looking for the manual? Add your email if you want replies to any question you post - You will receive an email if someone replies! To receive automated replies be sure to add a valid email address! Professional Part Time Hobbyist. Please copy the displayed number into the box to post:.
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Yamaha TX81Z. Product rating out of 5: AndyChristianBrewer wrote: gosh, i am so pleased to see this synth getting props!!! Product rating out of 5: realtrance wrote: youre not going to regret getting the FS1R -- except maybe for the extra sleep youre going to have to forego now. Product rating out of 5: Michael Alexander wrote: Ive had this about a week,and it continually blows me away.
MikeC Product rating out of 5: Mike Clarke wrote: This was posted on the Tech forum by sitar: The sound production has this incredible clarity to it that I wouldnt be able to describe. Please copy the displayed number into the box to post: Note: To cut down on spammers, cookies must be enabled to post comments to this page. Currently 5. Currently 0 Stars. Currently 9. Currently 2. Currently 3. Currently A 90?
Currently 4. You can s The A will happily AN1X 90? AN 90? Does anyone out there got an AN patchfile for Cubase in a. Ex: AN AW16G 90? AW 90? CBX K1 90? Currently 1. CBX K2 90? CDR 90? Currently 7. CS01 90? I've been trying to get a cv kit for my cs so I can sync it to a sequencer, but the only kit CS 90?
Top sounds! This synth CS1X 90? CS20M 90? Hi, 40 joint years with the Yamaha CS20M, incredible tones and shades still today CS2X 90? CS30 90? I am a huge fan of this synth. So much, in fact, that I set up my own page to walk through its de CS40M 90? This website uses cookies to improve your experience while you navigate through the website.
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This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information. May 12, admin 0 Comment. This website uses cookies to improve your experience. Higher values allow the envelope generator to vary the filter cutoff frequency over a wider range.
Positive values shift the pitch upward, and negative values shift the pitch downward. Page 43 Settings: 0 … Specifies the lowest MIDI expression control change message which will be recognized by the FS1R, and therefore the lowest volume level which will be produce when, for example, an expression pedal is rocked all the way backward.
The higher the value, the higher the level of the reverb signal. The Variation stage includes reverb, delay, echo, modulation, distortion, wah, and a range of other effects. Page Sendins Rev SendIns Rev Insertion-to-Reverb Send Level Settings: 0 … Sets the amount of signal sent from the output of the insertion effect stage back to the input of the reverb effect stage see diagram on page The higher the value, the more insertion signal is sent to the reverb stage.
Mid Q Low-band Q Settings: 0. Amplitude modulation produces a periodic variation in the volume of the sound, thus creating a tremolo effect. Page 55 The FreqScaling and F.
Scale BP parameter, and decreases to the left of the breakpoint. Higher values apply a greater amount of feedback. The selected operator number appears in the upper left corner of the display, and the level bar corresponding to the selected operator will flash in the upper right corner of the display, to the left of the parameter number. When a positive LevelScaling value is specified the operator level increases to the right of C3, and decreases to the left of C3.
Page Frqeg Frequency Eg Level 1 … Level 4 Settings: 0 … 99 The FS1R amplitude envelope generator has four individually programmable time and level parameters for exceptional envelope programming flexibility. Next to the actual waveform of the sound, the amplitude envelope is one of the most important factors determining the overall sound of a voice. EG bias increases or decreases the amplitude envelope generator levels, simulating the dynamic variations that can be produced on an acoustic instrument more accurately than simple volume control.
Page Page 73 MIDI channels. In this case the FS1R functions as a multi-timbre tone generator, allowing the parts to be individually controlled via their respective MIDI channels.
The FM knob can be used to control operator output level, operator frequency, or operator bandwidth according to the setting of the FM 1 … Page Others Changing the memory allocation will erase the contents of the internal voice and Fseq memories if used! Fseq data cannot be created, edited, or stored using the FS1R. Normally the "Int Voice " memory allocation should be selected. This is not a problem with the FS1R.
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