EXCOM
tankista
Specification :
Polyphony - 32 (without Filter) / 16 (with Filter)
Oscillators - Digital FM synthesizer with 16 Operators (8 Voiced, 8 Unvoiced) 88 algorithms
Instruments - 4-part multitimbral
LFO - 2 LFO
Filter - Dynamic Resonant physically modeled 12/18/24dB/oct low/band/hi pass filter (AN1x type)
Effects - 15 (Reverb), 28 (Variation), 40 (Insertion), Equalizer
Keyboard - None
Memory - 1536 Voices, 512 Performances, 96 Formant Sequences
Control - MIDI IN/OUT/THRU (16-channels)
Date Produced - 1998
FEATURES
FS Synthesis (Formant shaping / FM synthesis) - creates sound with characteristics and flexibility similar to the human voice for extraordinary sonic depth and expressive control.
• Upward compatible with voices from the "classic" FM synthesizers and tone generators, such as the Yamaha DX and TX series.
• Formant Sequences - “Fseqs” - produce other-worldly vocal phrases, rhythm loops, and more.
• Assignable control knobs for extended real-time sonic control as well as easy programming.
• A huge selection of 1408 preset voices, including the best from the original DX and TX series.
Formant Shaping + FM Synthesis
The FS1R integrates two tone generation concepts for extraordinarily broad voicing versatility. In addition to the latest FM synthesis technology — based on the type introduced in the legendary Yamaha DX-series synthesizers and TX-series tone generators — 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 — in short, the “musicality” — of natural acoustic instruments. And, of course, the ability to combine FM with Formant Shaping opens up a whole new universe of musical possibilities. The FS1R can create anything from classic DX electric piano voices to totally new simulations of human vocal sounds ... and anything in between.
FS Synthesis
The term “formant” refers to the distinct spectral patterns which define the recognizable sounds of human speech, such as the vowels “a” or “i.” 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 formant 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. Formants play an important role in defining the sound of many acoustic musical instruments as well as the human voice. Rather than a cumbersome system of oscillators and filters to synthesize the effect of formants, the FS1R employs 16 formant “operators” — 8 “voiced” operators, and 8 “unvoiced” operators (3 to 5 formants are generally considered to be more than enough to synthesize speech). Each operator digitally simulates the effect of both the driving source (oscillator) and filter in one easily manageable unit. 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 same way as noise generators in more orthodox synthesis systems (e.g. to produce percussive sounds or sound effects). 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). All of these are programmable, and independent envelope generators are provided for the center frequency and level parameters of each operator. The envelope generators make it possible to produce a wide range of time-based timbral variation, such as smoothly shifting from an “a” to an “i” type sound. Also, any of the available controllers can be assigned to the formant parameters — the control knobs, a modulation wheel, foot controller, etc. — to allow realtime variation while playing.
Formant Sequences
The FS1R features a range of 90 preset FSeqs (Formant Sequences) which can be used to “sequence” the formants to produce voice-like phrases, rhythm loops, and more. FSeq playback speed can be set at a fixed value, controlled via a MIDI clock signal, varied by note velocity (e.g. keyboard dynamics) or varied manually. And since the sound of formants is not pitch dependent, Fseq playback speed and pitch can be varied over an extremely wide range without altering the basic timbre of the sound (something that even the best samplers cannot do).
FM Synthesis
The FS1R’s operator-based architecture is what allows it to integrate both FM and Formant Shaping tone generation in one compact, easy-to-use module. To create FM (Frequency Modulation) voices, the operators are rearranged into a variety of “algorithms” with carrier/modulator relationships between certain operators. This basic architecture means that the FS1R is fully capable of producing the same type of FM sounds that placed the Yamaha DX-series synthesizers and TX-series tone generators firmly at the forefront of music production throughout the 1980’s — and makes them an indispensible part of the musical arsenal of so many discerning artists and production professionals even today. In fact, the FS1R actually comes with a complete set of 1152 original DX voices pre-programmed in preset memory! If you have other DX voices you have programmed yourself or obtained from other sources, they can be loaded into the FS1R too, and used with virtually no change in sound.
The FS1R actually takes FM synthesis to new levels of musical versatility and control. Unlike Yamaha’s original FM synthesizers and tone generators, the FS1R provides a choice of 8 different waveforms for each oscillator, thus significantly expanding the range of sound which can be produced.
Manuals
- Owner's Manual - DATA LiST - Algorithm Sheet
Editors
FS1R Editor
FSeq Editor
FS1R Tools
po diskusiach na ceste spat zo stretka eZone sa spustila burliva debata ako to vlastne vsetko funguje.. ako uz Pytkin avizoval dame si mali brainstorming ohladom tejto masinky...
celkom by ma zaujimalo kto tu vlastny tento stroj a bude vediet povedat fundovane skusenosti z touto masinkou..
este predtym ako si dame spominany brainstorming by sme sem mohli uviest dajake fakty ako co na tomto stroji funguje.. takze kazdy kto ma co povedat nech sem pise..
dilema vznikla ked sa riesilo posielanie z analyzovanych dat z wav do FS1R.. ako to presne funguje? ako to rozanalyzuje ze na vcelku citatelny prejav staci FS1R 8 operatorov?
no vsak hadam staci precitat si manual, wiki a je to jasne.. ale mame tu eZone a delime sa o kazdu info medzi vsetkych
tak sa tesim na nas brainstorming( Hubert, Pytkin, Kayko, EXCOM ) - pridat sa mozu aj ostatny, to este dame vediet...
tak momentalne debata prebieha tu.. tak sa pustite do toho...
UPDATE : nasiel som tu viac tem o FS1R ale vytvoril som tuto novu lebo by bolo dobre sustretid vsetko do jednej aby to nebolo roztahane.. takze mozme tento trhead venovat masivne tomuto skvelemu syntaciku a davat sem vsekto co je s tym spojene
pripadne vymenim za modular G2 engine 
z roku 1995 kde použili samply z CDček s Transilvánským a Maďarským cikánským folklórem ... tam ovšem FS1r s jistotou nehrála 
