Posts Tagged ‘FS1R’

Hacking the FS1r Part1 – Zeeedit Patch Editor v2

January 18, 2013

A new version of Zeeedit was released on Jan 1st 2013. PC only.

People may well quibble about the license terms (42 euro locked to one computer), however I think it is an excellent investment if you intend to get serious use from the FS1r.
Sakura is also excellent, but Zeeedit wins on presentation – everything is laid-out beautifully in comprehensive overviews. This makes the FS1r very accessible to me. YMMV.

I decided to record my largely incoherent ramblings on Zeeedit – doing so provides an overview of the FS1r architecture. This will bore the hell out of 99.99999999% of people. But I think it might be be useful to the new FS1r owner struggling in the waves. Hence, and for posterity…

No loud noises in these ones…


Grokking the FS1R: Part 5 – Formant Choir Dissection

March 30, 2011

A closer look at the programming of Formant-based patches, using a Choir example.

Grokking the FS1R: Part 4 – A Solid attempt at Lately

March 24, 2011

Going for a target this time. 90’s pop basses from the Yamaha 4-op FM synthesizers.

Grokking the FS1R: Part 3 – Simple 2-Operator FM with variable modulator waveforms

March 24, 2011

Still feeling my way around the FS1R waveforms…

Not totally sure why I am doing these vids, but it’s easy with Camstudio, so I said why not.

FS1R Architecture

March 17, 2011

For reference / reminder. Click to view.

Grokking the FS1R: Part 2- A First FM Patch

March 17, 2011

Still some hiss – attempting to correct.

Grokking the FS1R: Part 1 – The FS1R Spectral (Wave)forms

March 17, 2011

First of a series of clips showing my adventures in learning the FS1R.

FS1R – LSBP (Level Scaling Breakpoint)

March 16, 2011

The LS BP (Level Scaling Breakpoint) parameter sets the key which will be at the center of the level scaling curve (see diagram below). The LS LeftCrv and LS RightCrv parameters specify the type of level scaling curve which will be applied to the left and right of the breakpoint, respectively: -lin (negative linear), -exp (negative exponential), +lin (positive linear), or +exp (positive exponential). Please note that the LS BP will shift in accordance with the settings of the Note Shift parameters (pages 24, 40, 59, 71). The LS LeftDepth and LS RightDepth parameters specify the depth of the curve on the corresponding sides of the breakpoint.


February 9, 2011

By far the best FS1R demo on Youtube, courtesy of the infectiously enthusiastic Mr. Katsunori from musictrackjp

KVR topic – FS1R

February 8, 2011

Interesting tidbit from KVR circa 2005:

What makes the FS1R so unique is the extended battery of FM operators it offers. If you look at the classic X7 generation of FM ‘algorithms’ – the various ways in which operators can be routed together – there’s always at least one in which the operator feeds back into itself. This allows the operator to generate a waveform that is almost (but not entirely) random white noise, and is the only means by which an FM synthesizer can make plosive, textural and percussive sounds.

The great problem this causes is that these noise generators often have long periodic cycles that often (but not always) cause a cycling inharmonic interference to appear in extended notes. Try any X7 pad patch on a synth such as FM7 or a DX200 and you’ll probably (but not certainly) hear strange periodic shimmers, gargling and sibilance in pads that should be completely smooth when the note is held on for long periods. This distortion is a killer because it’s uncorrelated to the pitch of each note, varies with the pitch of each note and is almost impossible to equalize out.

The FS1R has 8 voiced operators (which generate the pitched tone) and 8 unvoiced operators (which generate enveloped white noise) allowing the creation of patches that have massively lower transient cycling in held notes, and the exertion of formants, allowing the strangest most ethereal voice pads any synth makes. This is further enhanced by a range of expressive change both across the keyrange and across note velocities that I’ve never encountered in any other synth.

— HanafiH

via KVR :: View topic – FS1R

Checking OS version on the FS1R

February 8, 2011

Nugget gleaned from the Yahoo group:

Power-up while holding ‘UTIL’ & ‘ENTER’. But backup your sounds first, since this procedure will reset all your Voice and Performance memory.


The latest OS appears to be 1.20, but nobody seems to know what improvements were made over 1.10. Update is via EPROM and god knows where they could be found now.

I just checked and I’ve got OS 1.20 8)

Factory Reset Procedure for FS1R

February 7, 2011

Factory Reset Procedure for an FS1R – FS1R – Tone Generators/Samplers – Music Production Tools.

WARNING:All user stored data will be deleted. If the current settings and data are not expendable, create a backup before executing the Factory Reset.

  1. Press the [UTIL] button.
  2. Use the [<] or [>] ‘CURSOR’ buttons to select ‘INITIAL’ in the screen.
  3. Press the [ENTER] button.
  4. Use the [<] or [>] ‘CURSOR’ buttons to select ‘Factset’ in the screen.
  5. Press the [ENTER] button. The screen will display ‘Are You Sure?’
  6. Press the [ENTER] button again.


Exploring the FS1R – 5. Vocal Presets

February 6, 2011

Purporting to demonstrate the Formant sequencing abilities of the FS1R (the marketing focus), the vocal performance presets are, to me, quite cheesey. There are definitely some usable sounds here, particlarly for me on the lower octaves.

Some noodling: FS1R_Voice_Perfs.mp3

Exploring the FS1R – 4. Guitar Presets

February 5, 2011


OK, crap playing, but you get the idea – (over)liberal use of Pitch and mod wheels. Hardly realistic, but some interesting bass tones on the lower octaves.

Exploring the FS1R – 3. Back to the beach

February 2, 2011

OK, hands-up – I spoke too soon on the presets. Instead of tackling the myriad other stuff to do, I’ve spent an hour just playing the FS1R. There are 4 banks of 128 presets – 1 User bank, two factory banks, and a special bank for a guitar midi controller.

Here are recordings of this mornings stoned noodlings. This is just going through the first 60 presets in Bank A. Not all useable sounds there, and that cheesey breathy digital formant thing is a wee-bit  overdone. Nevertheless, the sounds are beautiful and very expressive. Starting on middle c for most, and using the pitch/mod joystick of the x-station these are some Vocal patches, basses and SFX.



Exploring the FS1R – 2. Editor choice

February 1, 2011

Well this was easy.

Zeeedit installs but does not run on my Win7 laptop. I will explore why later, but in my eagerness to see some guts, I also installed the free FS1R editor from Japan. I’m impressed.

It connected and works flawlessly first time, all parameters editable in real-time. Although the interface is tabbed, it’s highly polished and supports direct text input. Perfect!

Exploring the FS1R – 1. Preset surfin’

February 1, 2011

In keeping with Yamaha’s habit for obtuse organisation, patches are played in performance mode. 4 patches (voices) can be layered in a performance. I already can predict that my initial noodlings will only use one voice per performance. Don’t want to overwhelm myself just yet…

Each voice can be made-up of 16 operators: 8 voiced operators a-la FM, and 8 ‘unvoiced’ operators that act like noise generators. from the manual:

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 sameway as noise generators in more orthodox synthesis systems (e.g. to produce percussive sounds or sound effects).

I’m not going to delve into the Formant just yet, only to say that the manual alludes to the interplay between the voices and unvoiced operators to create more ‘musical’ synth sounds with subtle harmonics under realtime control.  What looks like the icing on the cake will be Formant sequences (FSeqs):

FSeqs are sequences of formant frequency, fundamental pitch, and level data which have been createdby analyzing the formant content of actual sounds. FSeq playback speed can be set at a fixed value, controlled viaa MIDI clock signal, varied by note velocity (e.g. keyboard dynamics) or varied manually when the “scratch” Fseqmode is selected. And since the sound of formants is not pitch dependent, FSeq playback speed and pitch can bevaried over an extremely wide range without altering the basic timbre of the sound (something that even the bestsamplers cannot do).

Lots of interesting possibilities! Let’s start…

Setting-up the FS1R was painless – plug it in and connect midi and audio to the trusty X-station. Filter controls are conveniently pre-mapped, however editing will be restricted to the laptop for consistency, and to prevent me mucking-up any developing patches.

I didn’t buy this for the presets, but there are plenty of usable ones in there. As standard, all the presets are drowned in reverb – but I haven’t quite found how to switch if off yet :/ Gimme some time there now.Quickly flicking through the Performances: The Ep’s are very nice indeed – they respond beautifully to the weighted keys of the Privia. Organs are OK – will require some tweaking. Some of the brass patches are surprisingly realistic. I was surprised by the bass presest – mostly quite weak and not the solid tones that FM is noted for. They seem to have tried to replicate that tired old TB sound.

Now the Pads – quite a few ‘samey’ whooshes that sound very cold and digital. On many pads and choirs the modwheel is mapped to the formants, so yes, there is a nice effect when used with sight pitch-bend. Turning-up the ‘Formant’ and ‘FM’ knobs alone provides some really delicious variations. Very interesting control possibilities here. Some very nice pads indeed.

I think the filter is the same as that on the AN-200 and An1x. Certainly sounds like it. It’s a modelled filter and it shows at high resonance. Not the worst, and certainly a bonus for an FM synth.  Let’s see how it goes….

Exploring the FS1R – Prelude

February 1, 2011

Well, my long lusted-for FS1R arrived today!

I’ve already read the manual – the architecture is pretty clear (it’s even printed on the top of the machine). The implementation, however, is a little more obscure.

I am somewhat familiar with FM synthesis, having rubbed my teeth on VSTs such as Toxic Biohazard and Bick TIck’s Rhino. I recentl began patching the Yamaha DX200 but quickly ran in to the polyphony limit – I could only get 4 voices! Bollox to that – lovely sounding machine but it’s going on ebay tomorrow. The FS1R is sooo much more powerful.

For editing. I’ve decided to stump-up for Zeeedit – primarily because all voice parameters are viewable on one screen, and it has mousewheel support! I often wonder why so many VST developers don’t support mousewheel – it just makes sense. What Zeeedit does lack however is direct numerical input. For FM I find that this precision is needed. I’ll send-in a feature request with my order 🙂

So, with trusty notebook at hand, let’s do this – one parameter at a time.

Atom Smasher’s FS1R Programming Tips

January 29, 2011

-UNOFFICIAL- FS1R Programming Tips.

FSeqEdit – editor for FS1R FSeq data

January 29, 2011


This program is an editor for FSeq data. FSeqdata is a native format for Yamaha’s FS1R, that stores formant information needed to recreate sounds, much like samples. Features like a tracker style editor, importing of wavefiles, drawing formants as lines, moving and scaling of formants etc should give you the possibility to actually use the features of your FS1-R that makes the machine so special. You’ve paid for it damnit.

Free FS1R Editor

January 29, 2011

FS1R Editor English Version – Download


  • Operation of all the parameter was enabled from PC. The user interface which can perform making sound conveniently.
  • This software can save SMF (Standard MIDI File) so that voice data can also be passed to the Mac users and Linux user, etc.
  • Since there was software which can make FSEQ data from overseas software “FSeqEdit”, the file(.syx) is read and it enabled it to store in a FS1R. Thereby, Formant data was made from the WAV file etc., and FS1R was made to talk and it became possible to give width to tone creation. Furthermore, since FSEQ data is convertible for SMF, it is possible to also distribute FSEQ data to the direction of other OS’s. FSeqEdit:
  • This software can read The FS1R Editor’s save file.

Comprehensive and free – can’t complain!

ZeeEdit – MIDI editor for Yamaha FS1R

January 29, 2011

ZeeEdit – MIDI editor

Main features

  • MIDI control surface integration. Several controllers and several keyboards may be used at the same time.
  • MIDI learn.
  • Zoom feature for envelopes and other complex widgets
  • Independant and unlimited undo/redo history for each panel (Performance or Voice)
  • Copy/paste feature parameter sets. For example to copy an envelope to other operators

Costs €42 but probably worth it for the interface. Will test when FS1R is is my grubby hands (sale secured, en route).



January 21, 2011

Currently negotiating Purchase. I’ve been lusting after one for a long time – definitely a unique sounding and incredibly powerful synthesizer. I’m drawn the complexity coupled with the obtuse interface. Like my XL-7 it will be caressed, digested and slowly assimilated over a period of years. It will be my main synthesizer in the evolving live rig setup – coming soon.