YAMAHA FS1R

    Programming Tips


Using FSEQ as an LFO
Hannes Jaeckl
tricom.music@t-online.de

Set the FSEQ as a loop, and use it as a unique LFO. Remember to try with different FSEQ tracks, and with the 'PITCH' set to both 'fixed' and 'fseq'.


Waveforms as LFOs
atom smasher
atom@suspicious.org

All 8 waveforms can be used as LFOs. Just set the 'freq mode' from 'ratio' to 'fixed', and dial up a speed that works as an LFO, usually less than 20-40 Hz.

Different waveshapes can be obtained by adjusting the 'bandwidth', 'resonance', and 'skirt'. Try using 'res1', and play with the resonance.

This can also be used to obtain FM and AM with the LFOs, and to get multiple LFO in a voice.


More Waveforms To Use As LFOs
Andrew Brewer
funkbot@hotmail.com

try zero hz waves with high or maximum feedback. you wont regret it.


Using MIDI CC Messages
atom smasher
atom@suspicious.org

Use MIDI Continuous Controllers to tweak the sound.


Getting The 12 Bit sound
Jonas_Bülow d93-jbu@nada.kth.se

A big help in re-creating the 12 bit sound of older DX and TX machines is to use the LO-FI effect, in the 'Insert' section. This can then be sent through either (or both) the 'Variation' or 'Reverb' effect modules, or the 'Individual Outputs' for external processing.


More MIDI Control (or knob control) of 'FM'
atom smasher
atom@suspicious.org

The 'FM' and 'Formant' controls (whether used in the Control Matrix, or not) can both work on formant or non-formant operators. Just assign them accordingly in the 'Voice > Common > Other' parameters.

So, even in an all FM voice, you can assign some operator parameters to 'FM Control', and some operator parameters to 'Formant Control'. This might not be useful in a piano patch, but could be very handy for getting a 'modular' synth sound.


Controllable Feedback
Robert Wolf
RobertW@torson.com

Feedback can be a target of a controller, but indirectly. Simply apply a controller to the output level of the operator with feedback. By controlling the output of this operator you can control the amount of "feedback" being sent out. This control can be within the range of 0-127 using a controller, or within the range 0-99 using operator output level. As a consequence you can also apply EG and Level Scaling to the feedback. Not directly, ... but this may be considered as a sort of remedy.


Converting Between DX-7 and FS1R
Robert Wolf
RobertW@torson.com

There is one thing that is different. The EG rates are in "opposite direction". Simply 0 on DX is the slowest while on FS is the fastest. 99 on DX is the fastest while on FS is the slowest.


Getting 'Harsh' Sounds Out Of The FS1R
atom smasher
atom@suspicious.org

If you're used to Yamaha's 4-operator FM synths, the FS1R might seem weak when you want a sound that'll peel the paint off the walls. Fear not, it can be done.

Think of a voice that has one modulator, and one carrier:

          M
          |
          C
          |
        -out-

With the output of the modulator at '99', you have maximum harsh. On the FS1R, though, maximum harsh is only half as harsh as maximum harsh on a DX-100, or TX-81z.

The fix is to 'combine' modulating operators into a bigger operator.

        M M M
         \|/
          C
          |
        -out-

So, in practice, let's say that the 'carrier' is op8, and modulators are op7, op6, and op5. If you set op5-7 to ALL THE SAME PARAMETERS (and turn on the key sync), it's like having the carrier, op8, being modulated by one REALLY BIG modulator. Instant harsh.

• Just for refernce, 2 modulators in parallel in the FS1R equals 1 modulator in the DX-100, or TX-81z, when the outputs are '99'. (It's not linear: A single FS1R modulator with an output of '99' is equal to a single 4-op modulator with an output of '91', and it's a substantial difference.)


'Vectorize' the FS1R
atom smasher
atom@suspicious.org

Set up a performance with 4 voices. Use the Control Matrix to adjust the levels of voices 1 and 2, with the same controller, but in opposite directions. Use a different controller and do the same thing with voices 3 and 4.

For extra credit, build a joystick controller that sends MIDI data. ;)

Alternatively, if you have a keyboard controller that has a joystick that controls both pitch-bend and mod-depth, you can use that. The FS1R can receive pitch-bend and mod-wheel data for the Control Matrix.

databomb databomb@uswest.net

You could also try using a Korg Kaoss Pad. It sends out MIDI control change messages for vertical and horizontal motion.



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