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• 04: Cutoff Freq

❑

Cutoff Frequency

❑

Settings: 0 … 127

Sets the cutoff frequency of the selected filter. Lower cutoff values produce a lower cutoff frequency and higher
values produce a higher cutoff frequency. With an LPF response (selected by the “Type” parameter, above), a lower
cutoff frequency reduces the range of high frequencies passed, making the sound “darker” or “rounder.” With a HPF
response, a higher cutoff frequency reduces the range of low frequencies passed, making the sound “thinner” or
“sharper.”

• 05: Resonance

❑

Resonance

❑

Settings: 0 … 127

Determines the degree of filter resonance. This parameter has a similar effect to the “resonance” settings on
traditional analog synthesizer filters - i.e. it determines the height of a peak in the filter response at the cutoff
frequency.

Higher resonance values produce a higher resonant peak and reduce the overall bandwidth of the filter, passing a
narrow band of frequencies at the filter’s cutoff.

• 06: FreqScaling

❑

Frequency Scaling

❑

Settings: -64 … +63

• 07: F.Scale BP

❑

Frequency Scaling Breakpoint

❑

Settings: C-2 … G8

The FreqScaling and F.Scale BP parameters work together to produce a variation in filter cutoff frequency across the
range of the keyboard or other MIDI controller used with the FS1R.

When a positive FreqScaling value is specified (“+1” … “+63”) the filter cutoff frequency increases to the right of the
breakpoint specified by the F.Scale BP parameter, and decreases to the left of the breakpoint. On the other hand,
when a negative FreqScaling value is specified (“-1” … “-63”) the filter cutoff frequency decreases to the right of the
breakpoint specified by the F.Scale BP parameter, and increases to the left of the breakpoint. The higher the value
the greater the change in filter cutoff frequency.

Please note that the breakpoint will shift in accordance with the settings of the Note Shift parameters (pages 24, 40,
59, 71).

Level

Cutoff Freq

Freq

Resonance=-16

Resonance=0

Res100

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Summary of Contents for FS1R

Page 1: ...OWNER S MANUAL ...

Page 2: ...lity 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 ...

Page 3: ... 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 8 This product was NOT designed for use in wet damp locations and should...

Page 4: ...s 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 räjähtä...

Page 5: ...t 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...

Page 6: ...ponse 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 Plea...

Page 7: ...ency 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 P...

Page 8: ...uth 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 env...

Page 9: ...ished 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 manu...

Page 10: ... 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 10 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 ...

Page 11: ...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...

Page 12: ...perator 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...

Page 13: ...hey 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...

Page 14: ...R 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 6 EDIT Buttons PERFORMANCE EFFECT and VOICE These buttons activate the corresponding FS1R EDIT mode The EDIT PERFORMANCE button p...

Page 15: ...ssed briefly for single stepping in the specified direction or held for continuous scrolling They also have a large step function which allows you to skip ahead or backward in larger increments when selecting voices or editing numeric parameters press either the or button while holding the other button EXIT Button This button is used to exit from sub modes and cancel certain operations No matter w...

Page 16: ...a when one of the MIDI data transmission functions are activated Details on page 17 INDIVIDUAL OUTPUT L and R Jacks 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 Details on page 19 º OUTPUT L MONO and R Jacks Thes...

Page 17: ...ding conductor MIDI Connections The FS1R can be used with virtually any type of MIDI controller keyboard wind controller sequencer etc To ensure reliable error free transfer of MIDI data always use high quality MIDI cables obtained from your Yamaha dealer or music equipment store Also avoid MIDI cables that are longer than about 15 meters since cables longer than this can pick up noise which can c...

Page 18: ...stem based on the G50 Since the G50 produces MIDI output the standard MIDI connection rules that apply to a keyboard or any other MIDI controller also apply when connecting the G50 to the FS1R One feature of the FS1R which makes it ideal for use with the G50 is the ability to allow reception on a specified range of MIDI channels for each performance part WX series Wind MIDI Controller The FS1R is ...

Page 19: ... t have to hook up and complete sound system and you won t disturb the neighbors no matter how loud or late you play Recommended Yamaha headphones for FS1R monitoring are the HPE 170 HPE 160 or HPE 150 Stereo Headphones Any standard pair of stereo headphones with a 1 4 stereo phone plug and an impedance of between about 33 and 150 ohms can be used Instrument Amplifier or Stereo Sound System The FS...

Page 20: ...mo sequence to hear how some of the voices sound This process will also help to familiarize you with some of the FS1R s selection and editing procedures 1 Select the Utility Mode Press the UTILITY button to select the utility mode 2 Select the Demo Mode Use the CURSOR and buttons to select the DEMO item 3 Press ENTER and Confirm Press the ENTER button to engage the DEMO mode then press ENTER again...

Page 21: ...h part The FS1R includes a total of 12 voice banks a total of 1 536 voices described in the chart below Voices can be selected and assigned to performance parts played individually and otherwise set up for use in performance combinations via the PART ASSIGN mode page 24 nEdited voices can only be stored to the INTERNAL voice bank nThe factory preset INTERNAL voices can be restored by using the Ini...

Page 22: ...peration is performed Note the icons across the bottom the display simultaneously showing the status of the PART MIDI channel BANK PGM VOL volume PAN REV reverb return level VAR variation effect return level and KEY note shift parameters The various parameters in this mode are selected via the CURSOR and buttons The name of the currently selected parameter appears in the upper right corner of the ...

Page 23: ...llowing the parts to be individually controlled via their respective MIDI channels If the PLAY mode Pfm Ch parameter is set to any value other than off however all bank select program change volume and pan data received on the specified performance channel will affect the overall performance setup not individual parts nIn either of the above cases if the PLAY mode Pfm Ch parameter is set to off th...

Page 24: ...d to play individual voices The PART ASSIGN mode can be selected from the PERFORMANCE PLAY mode by pressing either the PART or button The PART ASSIGN display looks like this nThe voice edit mark will appear when any voice edit operation is performed nWhen the Insertion Effect Switch is on REV refers to Send Insertion to Reverb and VAR refers to Send Insertion to Variation See page 13 for effect sy...

Page 25: ...he Rch Ch to the Max Ch numbers Please note that the Rcv Max parameter is only available for parts 1 and 2 When pf is selected the Rcv Ch refers to the Perf Ch page 23 nWhen a range of receive channels is specified i e the Rcv Ch and Rcv Max numbers are different an M will appear before the MIDI channel number on the lower line of the display when the corresponding part is selected nWhen pf is sel...

Page 26: ... Sets the cutoff frequency of the filter This parameter duplicates the EDIT PERFORMANCE mode PART Tone FilterFreq parameter and offsets the value of the EDIT VOICE mode COMMON Filter Cutoff Freq parameter NoteSft Note Shift Settings 24 0 24 Transposes the pitch of the current voice down or up in semitone steps over a 2 octave range 0 corresponds to standard pitch Each increment corresponds to a se...

Page 27: ... voices in the same way and Knob 1 or the PART and buttons can be used to select the desired part If a corresponding performance setup or voice is not found within the specified part category and or bank Not Found will appear on the Search display nIn addition to using Knob 2 Knob 3 and Knob 4 as described above the CURSOR and buttons can be used to select the bank number performance voice number ...

Page 28: ...lDst 31 Fseq 32 Others 35 PART Tone 37 EG 39 Pitch 40 Others 41 STORE 44 RECALL 44 EFFECT Rev 45 Var 46 Ins 47 EQ 48 VOICE COMMON LFO1 51 LFO2 52 Filter 53 PitchEG 57 Others 58 OPERATOR Osc 62 EG 66 FrqEG 67 Sns 68 STORE 70 RECALL 70 3 Press ENTER and Select a Sub Group Press the ENTER button to go to the selected parameter group Unless you are in the EDIT EFFECT mode or accessing the STORE or REC...

Page 29: ...rresponding to the currently active edit mode PERFORMANCE EFFECT or VOICE The EDIT button will flash to indicate that the EDIT COMPARE mode is active and you can play and hear the pre edit voice or performance setup To return to the edited voice performance press the EDIT button a second time so that the button lights continuously IMPORTANT If you want to keep the changes you made in the EDIT mode...

Page 30: ...r a Foot Controller to a single parameter such as say LFO speed Or it could assign a number of controllers to the same parameter Knob 1 a Foot Controller and a Modulation wheel for example could all be assigned to control LFO speed On the other hand the same controller can be assigned to control different parameters in different control sets so you end up with a single controller controlling up to...

Page 31: ...is a number from 1 to 8 i e VC1 through VC8 and is a parameter name Parameter Settings Effect VCn Control Destination VCn Depth Specifies the parameter to be controlled by the corresponding voice control set Please note that when off any of the insertion effect parameters Fseq Speed or Fseq Scratch are selected the VCn Part1 through Part4 parameters are not available A range of controllable parame...

Page 32: ...es cross is showing i e dark then the corresponding control set is assigned to the corresponding part When a dot is not showing the the corresponding control set is not assigned to the corresponding part Fseq Formant Sequence 01 Part Part Settings off 1 4 Selects the part to which the Fseq Formant Sequence specified by the Fseq parameter below will be assigned an Fseq can be assigned to only one p...

Page 33: ...ay not be in perfect synchronization with the MIDI clock Fractional midi settings i e midi1 4 midi1 2 midi2 1 midi4 1 have the same effect but at the specified fraction of the MIDI clock speed 06 Speed Vel Speed Velocity Sensitivity Settings 0 7 When a Tempo Vel value other than 0 is specified Fseq playback speed in the fseq mode see Mode parameter above can be varied by note velocity e g keyboard...

Page 34: ...e fseq Settings 0 511 Specifies the loop start point for Fseq playback A setting of 0 sets the loop start point at the beginning of the actual formant sequence data Higher values shift the loop start point toward the end of the sequence The highest available value corresponds to the end of the formant sequence If the loop start point is set at a higher value than the loop end point below the forma...

Page 35: ...f pre ins post ins This parameter in conjunction with the insEfSw parameters for each part page 26 determines how the individual parts are assigned to the FS1R s INDIVIDUAL OUTPUT jacks When off no signal is delivered via the individual outputs When set to pre ins only parts for which the InsEfSw parameter is turned on will appear at the individual outputs and the sound will be dry without effects...

Page 36: ...he display with an underline cursor under the first character the underlined character is selected for editing Use the VALUE and buttons to select a new character for the current edit location as required then use the CURSOR and or buttons to move to the next character to be edited and repeat until done LCD Pf Cp Or Gt Ba St En Br Rd Pi Ld Category No Assign Piano Chromatic Percussion Organ Guitar...

Page 37: ...tch Envelope Generator Release Time 40 Pitch Detune 40 Note Shift 40 Pitch Bend Range 41 Pitch Bend Low Range 41 Portamento Switch 41 Portamento Mode 41 Portamento Time 41 Others Monophonic Polyphonic Mode 41 Note Assign Priority 42 Reserved Note 42 Low Note Limit 42 High Note Limit 42 Low Velocity Limit 42 High Velocity Limit 42 Velocity Sensitivity Depth 43 Velocity Sensitivity Offset 43 Express...

Page 38: ... LFO1 PitchModDpt parameter 06 LFO1 Delay LFO1 Delay Settings 64 63 Sets the delay time between the beginning of a note and the beginning of the vibrato effect Positive values produce longer delays while negative values result in shorter delays This parameter offsets the value of the EDIT VOICE mode COMMON LFO1 Delay parameter 07 Filter SW Filter Switch Settings off on Turns the filter on or off T...

Page 39: ...attack time of the amplitude filter envelope generator Attack time refers to the length of time it takes for the envelope to reach maximum level from the instant a note is played Positive values produce a slower attack while negative values produce a faster attack Please note that positive values only affect carrier attack time This parameter offsets the value of the EDIT VOICE mode COMMON Filter ...

Page 40: ...er offsets the value of the EDIT VOICE mode COMMON PitchEG Level4 parameter 07 PEGReleTime Pitch Envelope Generator Release Time Settings 64 63 Sets the release time of the pitch envelope generator Release time refers to the length of time it takes for the pitch envelope to reach the release level specified by the PEGReleLvl parameter above after a note is released Positive values produce a slower...

Page 41: ...etermined by the Porta Mode and Porta Time parameters below 06 Porta Mode Portamento Mode Only available when 05 Porta Sw on Settings Ful Fng Portamento produces a slide effect between subsequently played notes The Porta Mode parameter determines how the portamento slide is produced When Ful is selected the portamento slide will occur between any two subsequent notes when the Porta Sw parameter ab...

Page 42: ... the NoteLimitH parameter is set to a note which is lower than that specified by the NoteLimitL parameter above no sound will be produced between the NoteLimitL and NoteLimitH notes 06 Vel LimitL Low Velocity Limit Settings 1 127 Specifies the lowest velocity value which will be recognized by the FS1R This and the Vel LimitH parameter below specify the FS1R velocity range nIf the VelLimitL paramet...

Page 43: ...rrent part The current part will respond to sustain switch messages when this parameter is turned on 12 Pan Pan Settings rdm L63 C R63 Sets the pan position of the current part i e the position of the part between left and right in the stereo sound field A setting of L63 sets the pan position full left Cnt sets the pan at center and R63 sets the pan full right In between settings produce correspon...

Page 44: ... the internal memory location you want to store the edited performance setup to I001 through I128 When the destination performance number has been selected press the ENTER button Are you sure will appear on the display Press the ENTER button again to actually store the performance setup or EXIT to cancel Executing will appear on the display briefly while the data is being stored then the FS1R will...

Page 45: ...Insertion Parameters 47 Ins Pan 47 SendIns Rev 48 SendIns Var 48 InsDryLevel 48 EQ 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 Effect Signal Flow Refer to the diagram on page 13 for an overview of how the FS1R effect stages relate to overall signal flow Note that the Reverb and Variation stages are overall effects...

Page 46: ... Rev Return Reverb Return Level Settings 0 127 This parameter duplicates the PLAY mode Rev Rtn parameter page 23 adjusting the level of the signal returned from the FS1R reverb effect stage The higher the value the higher the level of the reverb signal Var The Variation stage includes reverb delay echo modulation distortion wah and a range of other effects Type Variation Effect Type Settings No Ef...

Page 47: ...Flanger Symphonic Phaser1 Phaser2 Pitch Chng Ens Detune Rotary SP 2WayRotary Tremolo Auto Pan Ambience A Wah Dist A Wah Odrv T Wah Dist T Wah Odrv Wah DS Dly Wah OD Dly Lo Fi 3 Band EQ HM Enhncer Noise Gate Compressor Comp Dist Cmp DS Dly Cmp OD Dly Distortion Dist Delay Overdrive Odrv Delay Amp Sim Delay LCR Delay LR Echo CrossDelay ER 1 ER 2 Gate Rev Revrs Gate Selects the Insertion effect type ...

Page 48: ...ues produce a drier signal EQ This is a versatile 3 band equalizer with variable frequency and Q bandwidth for all bands The low and high bands can be switched for peaking or shelving operation Low Freq Low band Frequency Settings 32 2 0k Sets the rolloff or center frequency of the low EQ band Low Gain Low band Gain Settings 12 0 12 Sets the amount of boost settings or cut settings applied to the ...

Page 49: ... high EQ band High Gain Low band Gain Settings 12 0 12 Sets the amount of boost settings or cut settings applied to the high EQ band High Q High band Q Settings 0 1 12 Sets the Q or bandwidth of the high EQ band when the peak mode is selected via the High Shape parameter below Higher values produce a narrower bandwidth The Q parameter cannot be adjusted when the shelv mode is selected High Shape H...

Page 50: ... Filter Part Switch 53 Input Gain 53 Filter Type 54 Cutoff Frequency 55 Resonance 55 Frequency Scaling 55 Frequency Scaling Breakpoint 55 Resonance Velocity Sensitivity 56 EG Time 1 EG Time 4 56 EG Time Scaling 56 EG Level 1 EG Level 4 56 EG Depth 57 EG Attack Time Velocity Sensitivity 57 EG Depth Velocity Sensitivity 57 PitchEG Time 1 Time 4 57 Time Scaling Depth 57 Level 0 Level 4 57 Range 58 Ve...

Page 51: ... produces the longest delay before the LFO begins operation 04 Key Sync Key Synchronization Settings off on Determined whether the LFO runs continuously off or is triggered by notes played on so that modulation always begins from the same point in the LFO waveform when a note is played 05 PitchMod Dpt Pitch Modulation Depth Settings 0 99 Sets the maximum amount of pitch modulation that can be appl...

Page 52: ...pitch modulation No effect will be produced if EDIT VOICE mode OPERATOR Sns Freq Mod parameter page 70 is set to 0 08 FilterModDpt Filter Cutoff Modulation Depth Only available when EDIT PERFORMANCE mode PART Tone Filter Sw on Settings 0 99 Sets the maximum amount of filter cuttoff modulation that can be applied to the current voice A 0 setting produces no modulation while a setting of 99 produces...

Page 53: ...e maximum amount of filter cuttoff modulation that can be applied to the current voice A 0 setting produces no modulation while a setting of 99 produces maximum modulation Filter cutoff modulation produces wah wah type effects Filter 01 Part Switch Part Switch Settings on off Turns the filter on or off for the current part This parameter is actually EDIT PERFORMANCE PART Tone parameter 02 InputGai...

Page 54: ... the cutoff frequency See Freq below to pass BPF The BPF Band Pass Filter setting produces a filter response that allows only a band of frequencies centered at the cutoff frequency See Freq below to pass BEF The BEF Band Elimination Filter setting produces a filter response that eliminates a band of frequencies centered at the cutoff frequency See Freq below to pass Cutoff range Frequency Level Ra...

Page 55: ...ing a narrow band of frequencies at the filter s cutoff 06 FreqScaling Frequency Scaling Settings 64 63 07 F Scale BP Frequency Scaling Breakpoint Settings C 2 G8 The FreqScaling and F Scale BP parameters work together to produce a variation in filter cutoff frequency across the range of the keyboard or other MIDI controller used with the FS1R When a positive FreqScaling value is specified 1 63 th...

Page 56: ...rs determine the overall shape of the filter envelope Higher Time parameter values produce correspondingly longer times A time setting of 0 will result in an almost instantaneous transition between the related levels while a setting of 99 will produce the longest transition between the related levels The level parameters are actually offset parameters which offset the filter frequency from the fre...

Page 57: ... how the filter EG depth changes in response to velocity changes e g keyboard dynamics Plus settings produce greater filter depth in response to higher velocity values The maximum setting of 7 produces the maximum filter depth in response to velocity changes Minus settings produce the opposite effect lower filter depth in response to higher velocity A setting of 0 results in no depth variation Pit...

Page 58: ...t 1 2oct Sets the maximum range of pitch variation which can be produced by the pitch EG 8 octaves 2 octaves 1 octave or 1 2 octave 12 Velocity Sens Velocity Sensitivity Settings 0 7 This parameter determines how note velocity e g keyboard dynamics affect the depth of the pitch envelope generator Higher values produce an increase in pitch envelope depth in proportion to key velocity Others 01 Algo...

Page 59: ...l off no control out operator output level freq operator frequency and width operator bandwidth The rightmost parameter specifies the depth of control which can be applied via the FORMANT knob Higher values allow greater deeper control With a setting of 63 for example a maximum depth of 100 can be achieved by rotating the FORMANT knob clockwise A setting of 31 allows a maximum depth of 50 to be ac...

Page 60: ... with an underline cursor below the first character the underlined character is selected for editing Use the VALUE and buttons to select a new character for the current edit location as required then use the CURSOR and or buttons to move to the next character to be edited and repeat until done LCD Pf Cp Or Gt Ba St En Br Rd Pi Ld Category No Assign Piano Chromatic Percussion Organ Guitar Bass Stri...

Page 61: ...arameter is only available for unvoiced operators V N Voiced and Unvoiced Operators V Voiced Operators Only N Unvoiced Operators Only Sub Group Parameter Page Osc Fseq Switch V N 62 Fseq Track V 62 Spectral Form V 62 Frequency Mode V N 63 Frequency Coarse V N 63 Frequency Fine V N 63 Frequency Key Scaling V N 63 Transpose V N 64 Detune V 64 Bandwidth V N 64 Resonance V N 64 Spectral Skirt V N 64 K...

Page 62: ...or 2 and so on through track 8 and operator 8 Changing the Fseq track to operator assignments can however produce some interesting variations Please note that the Fseq Tr assignments apply to both the voiced and unvoiced operators 03 Form V Spectral Form Settings sine all1 all2 odd1 odd2 res1 res2 frmt This parameter specifies the spectral form of the currently selected operator sine all 1 The ope...

Page 63: ...e is selected this is the only mode for unvoiced operators the value represents an absolute frequency Fine frequency adjustment is provided by the F Fine parameter below 06 N 04 Freq Fine V N Frequency Fine Settings 0 500 61 69 ratio mode 0 0000 28024 fixed mode Allows fine control of the center frequency of the formant when the frmt spectral form is selected see Form parameter above or the fundam...

Page 64: ...Resonance V N Resonance Settings 0 99 This parameter is only effective when the res1 or res2 spectral form see Form parameter above is selected It determines at which harmonic a resonance peak is produced Higher values produce a resonance peak at higher harmonics of the fundamental pitch 11 N 09 Skirt V N Spectral Skirt Settings 0 7 This parameter is effective except when the sine spectral form se...

Page 65: ... notes 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 ...

Page 66: ...dance with the settings of the Note Shift parameters pages 24 40 59 71 20 OP Att V Operator Attenuation Settings 22 5 0 0 Attenuates the output of the currently selected operator by the specified dB value The lower the value the greater the attenuation The OP Att value is automatically reset to 0 0 when a different algorithm is selected page 58 EG Amplitude Envelope Generator 01 Hold Time V N Hold...

Page 67: ...tween the related levels For the level parameters a setting of 0 corresponds to the lowest possible level no sound while a setting of 99 produces the highest output level The EGTimeScaling parameter allows the overall envelope generator time for the selected operator to be varied across the entire pitch range Higher values produce an increasingly longer overall envelope time for notes below G3 and...

Page 68: ...ocity values i e the harder a key is played the louder the sound The maximum setting of 7 produces the maximum level variation in response to velocity changes Minus settings produce the opposite effect lower level in response to higher velocity A setting of 0 results in no level variation 02 FreqVelocity V N Frequency Velocity Only available when voiced operator FreqMode fixed or unvoiced operator...

Page 69: ...ce an increase in frequency when control is applied and minus settings produce a decrease in frequency when control is applied The greater the value the greater the shift in frequency When the FreqMode of an unvoiced operator is set to linkFF the frequency of the unvoiced operator will vary according to the voiced operator Freq Bias setting 05 Width Bias V N Bandwidth Bias Only available when Form...

Page 70: ... to an external MIDI data storage device via the UTILITY mode DUMPOUT function page 77 nThe PERFORMANCE EDIT icon will appear when the STORE VOICE function is executed When the STORE function is selected Store Voice will appear at the top of the display along with the flashing number of the currently selected internal voice number Use the VALUE and buttons to select the number of the internal memo...

Page 71: ...hru soft1 soft2 wide hard Sets the velocity response of the FS1R determining how note velocity will affect dynamics The thru setting produces a linear response A graphic representation of the selected curve appears at the bottom of the LCD 04 BC Curve Breath Control Curve Settings thru 1 2 3 Specifies the breath response curve determining how The FS1R will respond to breath control The thru settin...

Page 72: ... are in milliseconds i e 50 milliseconds 100 milliseconds etc Try adjusting this parameter if the receiving MIDI device generates a MIDI Buffer Full error message while receiving a bulk dump from the FS1R 03 RcvBulkDump Receive Bulk Dump Switch only available when 04 Rcv SysExcl on Settings off on This parameter determines whether or not the FS1R will receive MIDI bulk dump data Bulk dump data is ...

Page 73: ...e FS1R from a sequencer or computer In this case the FS1R functions as a multi timbre tone generator allowing the parts to be individually controlled via their respective MIDI channels If the PLAY mode Pfm Ch parameter is set to any value other than off however all bank select program change volume and pan data received on the specified performance channel will affect the overall performance setup...

Page 74: ...troller 6 0 127 LSB 12 18 General Purpose Controller 3 0 127 MSB 52 82 General Purpose Controller 7 0 127 LSB 13 19 General Purpose Controller 4 0 127 MSB 53 83 General Purpose Controller 8 0 127 LSB 14 20 0 127 MSB 54 84 Portamento Control 0 127 Source Note 15 21 0 127 MSB 55 85 0 127 LSB 16 22 0 127 MSB 56 86 0 127 LSB 17 23 0 127 MSB 57 87 0 127 LSB 18 24 0 127 MSB 58 88 0 127 LSB 19 25 0 127 M...

Page 75: ...meter page 71 See the list above for the assignable MIDI control change numbers are their standard assignments 11 Frm Formant Control Assign Settings 001 031 033 095 Assigns a MIDI control change number from 001 through 031 or 033 through 095 to FS1R FORMANT knob control The FORMANT knob can be used to control operator output level operator frequency or operator bandwidth according to the setting ...

Page 76: ...6 Fseqs When a VALUE button or the VALUE control knob is operated to change the memory allocation Are you sure will appear on the display Press ENTER to change the memory allocation or EXIT to abort nChanging the memory allocation will erase the contents of the internal voice and Fseq memories if used nFseq data cannot be created edited or stored using the FS1R Normally the Int Voice 128 memory al...

Page 77: ...Table in the separate Data List booklet for parameter details 2 Press ENTER Press the ENTER button to go to the confirmation select display for the selected data type 3 Select All or a Single Voice or Performance for Perform or Voice If you have selected the Perform or Voice data type you can use the VALUE and buttons at this point to specify whether you want to transmit All performance setups or ...

Page 78: ...Press ENTER to Initialize Press the ENTER button to begin actual initialization or EXIT to abort Executing will appear on the display while the data is being initialized then the display will return to the Initialize menu 4 Exit When Done Press the EXIT button to return to the UTILITY mode menu or PLAY to return directly to the PLAY mode when done DEMO Demo playback is described on page 20 Perform...

Page 79: ...he above solves your problem try turning the power switch off waiting a few seconds and then turning the power back on Possible Causes For Common Problems No Sound General Are your audio cables connected properly Are the volume controls on the instrument itself and connected sound equipment turned up to appropriate levels MIDI Are your MIDI cables connected properly Is your MIDI controller set to ...

Page 80: ... Have you changed the MIDI channel while holding the sustain pedal on Distorted Sound Performance Part Settings Some preset voices are intended to be used with the filter The sound may be unnatural if the filter is not used Make sure that the output level and EQ gain settings for each effect are not too high Is a part volume parameter set too high Voice Settings Is the filter input gain parameter ...

Page 81: ...ontrol source and destination settings made properly Is there a problem with a velocity sensitivity setting If using an Fseq to produce timbral variation is the Fseq Switch parameter on and the Form parameter set to frmt for the voiced operators used in the voice System Exclusive Is the FS1R device number set properly Is there a problem with the system exclusive reception setting Voice Changes Too...

Page 82: ...e full during MIDI data reception If this occurs the MIDI receive buffer will be cleared and any notes which are sounding will be turned off The MIDI Buffer Full message will remain on the display until a button is pressed If this occurs it is probably necessary to increase the bulk transmission interval time on the transmitting MIDI device System Exclusive Address Error This message indicates tha...

Page 83: ...Knob x 4 Absolute Relative Mode x 6 PLAY EDIT PERFORM EDIT EFFECT EDIT VOICE UTIL SEARCH Data x 9 MUTE SOLO ENTER EXIT PART CURSOR VALUE Knob Select x2 ATTACK RELEASE FORMANT FM KN1 4 Display LCD Backlit LED Mode x6 Green Knob Select x2 Red Terminals Front panel Phones Rear panel Output L MONO R Individual Out L R MIDI IN OUT THRU Dimensions 480 W x 235 D x 44 H mm Weight 2 6Kg Power Consumption U...

Page 84: ...5 59 Formant Sequences FSeqs 10 Frequency Bias V N 69 Frequency Coarse V N 63 Frequency Fine V N 63 Frequency Key Scaling V N 63 Frequency Mode V N 63 Frequency Modulation V N 70 Frequency Modulation Depth 52 Frequency Scaling 55 Frequency Scaling Breakpoint 55 Frequency Velocity V N 68 Front Panel 14 FrqEG Frequency EG 67 FS Formant Shaping and FM Frequency Modulation Synthesis 8 FS Synthesis 8 F...

Page 85: ...0 POWER Control 15 Program Number 23 25 Putting It All Together 13 R Range 58 Rcv Ch Receive Channel 25 Rcv Max Maximum Receive Channel parts 1 2 only 25 Rear Panel 16 RECALL PERFORMANCE 44 RECALL VOICE 70 Reserved Note 42 Resonance 38 55 Resonance V N 64 Resonance Velocity Sensitivity 56 Rev 45 Rev Return 46 Reverb Pan 46 RevRtn Reverb Return 23 RevSend Reverb Send 26 S SEARCH Button 15 SendIns R...

Page 86: ...3 S 400 43 Göteborg Sweden Tel 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK 2730 Herlev Denmark Tel 44 92 49 00 FINLAND Warner Music Finland OY Fazer Music Aleksanterinkatu 11 P O Box 260 SF 00101 Helsinki Finland Tel 0435 011 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N 1345 Østerås Norway Tel 67 16 77 70 ICELAND Skifan HF Skeifan 17 P O Box 8120 IS 1...

Page 87: ...3 FS1R UTILITY E qx 10 20 98 1 17 PM Page 87 ...

Page 88: ...VZ73100 811MWIT11 2 02B0 Printed in Japan M D G EMI Division Yamaha Corporation 1998 DIC F274 DIC F209 ...

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