OWNER’S MANUAL
FCC/E/qx 9/24/98 8:19 PM Page 2 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. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly.
FCC/E/qx 9/24/98 8:19 PM Page 3 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.
FCC/E/qx 11/12/98 5:52 PM Page 4 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 Yamaha 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.
cPRECAUTIONS/E/qx 9/24/98 8:20 PM Page 5 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 6 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 7 Contents *Pitch......................................................................................40 *Others...................................................................................41 STORE PERFORMANCE.............................................................44 RECALL PERFORMANCE...........................................................44 EDIT [EFFECT] .................................................................................
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 8 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 9 ■ 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 10 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 EDIT EDIT EDIT [VOICE] [VOICE] [VOICE] [VOICE] mode mode mode mode OPERATOR/Osc/.....................................................Page OPERATOR/EG/ ......................................................Page OPERATOR/FrqEG/ ............................
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 11 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/.....................................................
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 12 ■ 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 13 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 14 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 45 6 ^ 7 8 9 ) ! % $ # @ 1 PHONES Jack 6 EDIT Buttons: [PERFORMANCE], [EFFECT], and [VOICE] 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.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 15 9 Knob Mode Buttons # VALUE [ These two buttons determine the function of the FS1R’s four controller knobs. When the upper button is lit, the knobs directly affect the FS1R sound by controlling the parameters listed above the knobs: ATTACK, RELEASE, FORMANT, and FM. When the lower button is lit the knobs control the parameters assigned to KN1 through KN4 in the UTILITY/SYSTEM/Control mode (page 74).
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 16 Rear Panel & * ( º ( INDIVIDUAL OUTPUT L and R Jacks & Power Cord Connector In addition to the OUTPUT L/MONO and R jacks, described above, individual performance parts can be assigned to the INDIVIDUAL OUTPUT L and R jacks so that they can be sent to separate channels of a mixer for independent processing, etc. Plug the female end of the supplied AC power cord in here before plugging it into an AC wall outlet. Details on page 17. Details on page 19.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 17 Setting Up Power Supply Before making any other connections the “female” end of the AC power cord supplied with the FS1R should be firmly plugged into the rear-panel AC cord socket. Ideally the power cord should then be plugged into a convenient AC outlet after you’ve made all other necessary connections and placed the FS1R in the position in which it will be used.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 18 ■ Sequencer or Computer If you plan to use the FS1R with a sequencer or a computer equipped with sequencing software, the actual connections you will need to make will depend on the type of sequencer/software you use, the type of MIDI interface used, and the other equipment in your system. A simple system is shown below. In any case, you’ll probably want to set the FS1R for multi-timbre playback (i.e.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 19 Pitch Bend WX Lip Sensor and Pitch Bend data as transmitted in the form of MIDI pitch bend data. Be sure to set an appropriate pitch bend range on your FS1R. For subtle control a pitch bend range setting of between about 2 and 4 should be ideal. For broader control try a range setting between about 5 and 7. For really sweeping pitch bends, try a setting of 8 or more. Pitch bend range parameter details on page 41.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 20 Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!). Make sure your sound system’s main level/volume control(s) and the FS1R volume control are turned all 1. the way down prior to turning power on. 2. Turn on the FS1R. 3. Turn on your MIDI controller (and computer/sequencer, if used). 4. Turn on the sound system. 5.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 21 The PLAY Mode The PLAY mode is initially selected when the FS1R power is turned on, and can be selected from any other mode by pressing the [PLAY] button. This mode allows performance setups and voices to be selected and played, and thus is the mode you’ll normally use when playing the FS1R. The PLAY mode also provides access to several important performance parameters including volume, panning, etc.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 22 Bank Selection via MIDI Use the MIDI bank MSB (control number 00) and LSB (control number 32) numbers listed below to select FS1R voice and performance banks from an external MIDI device. See the “MIDI Data Format” section, in the separate “Data List” booklet for more details.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 23 Perf Ch (Performance Channel) ❑ Settings: off, 001 … 016, all The Perf Ch parameter specifies the MIDI channel via which MIDI bank select, program change, volume, and pan messages will be received for the PERFORMANCE PLAY mode. FS1R performance setups can be switched via MIDI bank select and program change messages transmitted via this channel.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 24 VarRtn (Variation Return) ❑ Settings: 000 … 127 Adjusts the level of the signal returned from the FS1R variation effect stage. The higher the value, the higher the level of the variation signal. PfmNSft (Performance Note Shift) ❑ Settings: -24 … 0 … +24 Transposes the pitch of the performance setup down or up in semitone steps over a ±2 octave range. “0” corresponds to standard pitch. Each increment corresponds to a semitone.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 25 In either case the part to be edited - 01 through 04 - can be selected via the PART [ ] and [ ] buttons (the selected part number appears above “PART” in the lower left corner of the display). The various parameters are selected via the CURSOR [ ] and [ ] buttons. The name of the currently selected parameter appears in the upper right corner of the display, and the solid triangular pointer indicates which of the parameters is selected.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 26 RevSend (Reverb Send) ❑ Settings: 000 … 127 Adjusts the level of the signal sent to the FS1R reverb effect stage. The higher the value, the higher the level of the reverb send signal. VarSend (Variation Send) ❑ Settings: 000 … 127 Adjusts the level of the signal sent to the FS1R variation effect stage. The higher the value, the higher the level of the variation send signal.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 27 The Search Function The FS1R Search function makes it easy to find a specific voice or performance from within the large number of presets provided. The Search function can also be used to locate original performance setups or voices you have created yourself and assigned to a category via the EDIT [PERFORMANCE] or EDIT [VOICE] mode “Catgry” parameter (pages 36 and 60, respectively). Engage the Search function 1.
2/FS1R/EDIT/E.qx 10/19/98 7:22 PM Page 28 EDITING General Editing Procedure The EDIT [PERFORMANCE], [EFFECT], or [VOICE] mode can be accessed from the PLAY mode as follows: an Edit Mode 1. Select Press the EDIT button corresponding to the type of parameters you want to edit: [PERFORMANCE], [EFFECT], or [VOICE]. See the FS1R Parameter Groups chart, below. a Parameter Group 2.
2/FS1R/EDIT/E.qx 10/19/98 7:22 PM Page 29 a Parameter 5. Select Use the CURSOR [ ] and [ ] buttons or Knob 3 (when both Knob Mode buttons are disengaged) to select the parameter you want to edit. The parameter number appears in the top right corner of the display. The name of the currently selected parameter and its current setting appear on the second line of the display.
2/FS1R/EDIT/E.qx 10/19/98 7:22 PM Page 30 EDIT [PERFORMANCE] COMMON The COMMON group provides access to a range of parameters which mostly affect all parts of performance setup. They are thus “common” to all parts.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 31 In the CtrlSrc parameter group you can turn any of the available source controllers on or off for any of the 8 voice control sets: “VC1” through “VC8.” The CURSOR [ ] and [ ] buttons individually select the full range of voice set and controller combinations. For example, when “VC1 by KN3” is “on”, Knob 3 is assigned to control whichever destination parameter and parts and assigned to voice control set 1 (“VC1”) via the CtrlDst parameters, below.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 32 The CURSOR [ ] and [ ] buttons individually select the full range of control destination parameters. The PART [ ] and [ ] buttons can be used to switch directly to different voice control sets: e.g. VC1 → VC2 → VC3, etc. Knob 1 can also be used to switch between voice control sets when both Knob Mode buttons are disengaged. The VALUE [ ] and [ ] buttons set the selected parameter as required. n When an Insertion Effect parameter (EQ Freq, EQ Gain, etc.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 33 Use the CURSOR [ ] and[ ] buttons to select the bank (Pre/Int) or number parameter, and the VALUE [ ] and [ ] buttons to set as required. “Pre” (Preset) or “Int” (Internal) can be selected when the left triangular pointer is highlighted, and the Fseq number can be selected when the right triangular pointer is highlighted.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 34 • 08: Pitch ❑ Pitch Mode ❑ Settings: fseq, fixed Determines whether or not the pitch data included in the formant sequence data will be used for Fseq playback. Effect Setting fseq The Fseq pitch data is used for Fseq playback. fixed The Fseq pitch data is not used for Fseq playback. • 09: Start Delay ❑ Start Delay ❑ Settings: 0 … 99 Specifies a delay before Fseq playback begins after a note is played.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 35 • 13: Loop End ❑ Loop End (Only available when 03: Mode = fseq) ❑ Settings: 0 … 511* Specifies the loop end point for Fseq playback. The highest available value corresponds to the end of the formant sequence. Higher values shift the loop end point toward the end of the sequence. If the loop end point is set at a lower value than the loop start point (above), the formant sequence will play backwards. * 511 is the maximum setting.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 36 • 02: Catgry ❑ Performance Category ❑ Settings: —, Pf, Cp, Or, Gt, Ba, St, En, Br, Rd, Pi, Ld, Pd, Fx, Et, Pc, Se, Dr, Sc, Vo, Co, Wv, Sq Specifies the Category assignment for the current performance setup. The category assignments are used by the FS1R SEARCH function (page 26). The meanings of the settings are listed below.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 37 PART In any of the PART EDIT modes the PART [ ] and [ ] buttons can be used to select the part to be edited. The selected part number appears in the lower left corner of the display, and the bar corresponding to the selected part will flash in the upper right corner of the display, to the left of the parameter number.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 38 • 03: V/N Balance ❑ Voiced/Unvoiced Balance ❑ Settings: -64 … +63 Specifies the balance between the voiced and unvoiced (noise) operators. A setting of “+0” produces equal balance between the voiced and unvoiced operators. Positive values increase the level of the unvoiced operators in relation to the voiced operators, and negative values increase the level of the voiced operators in relation to the unvoiced operators.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 39 • 10: Flt EGDepth (only available when Filter Sw “on”) ❑ Filter EG Depth ❑ -64 … +63 The “FiltEGDept” parameter determines to what degree the envelope generator (page 56) affects the filter’s cutoff frequency. Higher values allow the envelope generator to vary the filter cutoff frequency over a wider range. This parameter offsets the value of the EDIT [VOICE] mode COMMON/Filter/EG Depth parameter.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 40 • 04: PEG InitLvl ❑ Pitch Envelope Generator Initial Level ❑ Settings: -64 … +63 Sets the initial level of the pitch envelope generator. Positive values raise the initial pitch while negative values lower the initial pitch in relation to normal pitch. This parameter offsets the value of the EDIT [VOICE] mode COMMON/PitchEG/Level0 parameter.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 41 • 03: PB Range ❑ Pitch Bend Range ❑ Settings: -48 … +24 This parameter sets the maximum amount of pitch bend which will occur when the pitch controller is set to its maximum position (e.g. when the pitch bend wheel on a keyboard is rolled all the way up). Minus setting produce a downward pitch bend. Each increment corresponds to a semitone. A setting of “+12”, for example, results in maximum upward pitch bend of one octave.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 42 • 02: Priority ❑ Note Assign Priority (Only available when 01: Mono/Poly = mono) ❑ Settings: last, top, btm, frst Determines which note will be played when more than one note is played in the “mono” mode (see Mono/Poly, above). Setting last Effect The “last” setting causes only the last note played will sound. top When “top” is selected only the highest note in a group of notes played simultaneously will sound.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 43 • 08: VelSens Dpt ❑ Velocity Sensitivity Depth ❑ Settings: 0 … 127 Determines the slope of the velocity curve. The graph at the bottom of the display indicates the current velocity curve as determined by the “VelSensDpt” and “VelSensOfs” parameters. The horizontal axis represents keyboard velocity and the vertical axis represents output level.
2/FS1R/EDIT/E.qx 10/19/98 7:23 PM Page 44 STORE PERFORMANCE Once you’ve created a new performance setup by using the parameters in the PLAY mode, the EDIT [PERFORMANCE] mode, and/or the EDIT [EFFECT] mode, it’s necessary to store the setup to one of the internal memory locations otherwise the edited data will be lost when a new performance setup is selected. n Any previous data in the memory location to which the new data is stored will be erased.
