Yamaha FS1R Návod k obsluze

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Hudební nástroje
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Návod k obsluze
OWNER’S MANUAL
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.
We sincerely believe that our products and the production
methods used to produce them, meet these goals. In keeping
with both the letter and the spirit of the law, we want you to be
aware of the following:
Battery Notice: This product MAY contain a small non-
rechargable battery which (if applicable) is soldered in place.
The average life span of this type of battery is approximately
five years. When replacement becomes necessary, contact a
qualified service representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or
incinerate this type of battery. Keep all batteries away from
children. Dispose of used batteries promptly and as regulated
by applicable laws. Note: In some areas, the servicer is
required by law to return the defective parts. However, you do
have the option of having the servicer dispose of these parts
for you.
Disposal Notice: Should this product become damaged
beyond repair, or for some reason its useful life is considered
to be at an end, please observe all local, state, and federal
regulations that relate to the disposal of products that contain
lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge
relating to how a function or effect works (when the unit is
operating as designed) are not covered by the manufacturer’s
warranty, and are therefore the owners responsibility. 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 your purchase.
Model
Serial No.
Purchase Date
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equi-
lateral triangle is intended to alert the
user to the presence of important oper-
ating and maintenance (servicing)
instructions in the literature accompa-
nying the product.
The lightning flash with arrowhead
symbol, within the equilateral triangle,
is intended to alert the user to the pres-
ence of uninsulated “dangerous volt-
age” within the product’s enclosure
that may be of sufficient magnitude to
constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are
tested and approved by an independent safety testing
laboratory in order that you may be sure that when it is
properly installed and used in its normal and customary
manner, all foreseeable risks have been eliminated. DO NOT
modify this unit or commission others to do so unless
specifically authorized by Yamaha. Product performance
and/or safety standards may be diminished. Claims filed under
the expressed warranty may be denied if the unit is/has been
modified. Implied warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information
contained in this manual is believed to be correct at the time
of printing. However, Yamaha reserves the right to change or
modify any of the specifications without notice or obligation to
update existing units.
SPECIAL MESSAGE SECTION
92-469- 1
RISK OFELECTRIC SHOCK
DO NOT OPEN
CAUTION
FCC/E/qx 9/24/98 8:19 PM Page 2
92-469- 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. Read all Safety Instructions, Installation Instructions,
Special Message Section items, and any Assembly
Instructions found in this manual BEFORE making any
connections, including connection to the main supply.
2. Do not attempt to service this product beyond that
described in the user-maintenance instructions. All other
servicing should be referred to qualified service personnel.
3. Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area
where they are to be sold. If you should move, or if any doubt
exists about the supply voltage in your area, please contact
your dealer for supply voltage verification and (if applicable)
instructions. The required supply voltage is printed on the
name plate. For name plate location, please refer to the
graphic found in the Special Message Section of this manual.
4. DANGER-Grounding Instructions: This product must be
grounded and therefore has been equipped with a three pin
attachment plug. If this product should malfunction, the ground
pin provides a path of low resistance for electrical current,
reducing the risk of electrical shock. If your wall socket will not
accommodate this type plug, contact an electrician to have
the outlet replaced in accordance with local electrical codes.
Do NOT modify the plug or change the plug to a different type!
5. WARNING: Do not place this product or any other
objects on the power cord or place it in a position where
anyone could walk on, trip over, or roll anything over power or
connecting cords of any kind. The use of an extension cord is
not recommended! If you must use an extension cord, the
minimum wire size for a 25' cord (or less) is 18 AWG. NOTE:
The smaller the AWG number, the larger the current handling
capacity. For longer extension cords, consult a local
electrician.
6. Ventilation: Electronic products, unless specifically
designed for enclosed installations, should be placed in
locations that do not interfere with proper ventilation. If
instructions for enclosed installations 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 not be used near water or exposed to
rain. Examples of wet /damp locations are; near a swimming
pool, spa, tub, sink, or wet basement.
9. This product should be used only with the components
supplied or; a cart ,rack, or stand that is recommended by the
manufacturer. If a cart, rack, or stand is used, please observe
all safety markings and instructions that accompany the
accessory product.
10. The power supply cord (plug) should be disconnected
from the outlet when electronic products are to be left unused
for extended periods of time. Cords should also be
disconnected when there is a high probability of lightening
and/or electrical storm activity.
11. Care should be taken that objects do not fall and
liquids are not spilled into the enclosure through any openings
that may exist.
12. Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have
been spilled into the enclosure through openings; or
c. The product has been exposed to rain; or
d. The product does not operate, exhibits a marked
change in performance; or
e. The product has been dropped, or the enclosure of the
product has been damaged.
13. This product, either alone or in combination with an
amplifier and headphones or speaker/s, may be capable of
producing sound levels that could cause permanent hearing
loss. DO NOT operate for a long period of time at a high
volume level or at a level that is uncomfortable. If you
experience any hearing loss or ringing in the ears, you should
consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time
period before damage occurs.
14. Some Yamaha products may have benches and/or
accessory mounting fixtures that are either supplied as a part
of the product or as optional accessories. Some of these items
are designed to be dealer assembled or installed. Please
make sure that benches are stable and any optional fixtures
(where applicable) are well secured BEFORE using. Benches
supplied by Yamaha are designed for seating only. No other
uses are recommended.
PLEASE KEEP THIS MANUAL
FCC/E/qx 9/24/98 8:19 PM Page 3
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. Follow all installation
instructions. Failure to follow instructions could void your FCC
authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the
requirements listed in FCC Regulations, Part 15 for Class “B” digital
devices. Compliance with these requirements provides a
reasonable level of assurance that your use of this product in a
residential environment will not result in harmful interference with
other electronic devices. This equipment generates/uses radio
frequencies and, if not installed and used according to the
instructions found in the users manual, may cause interference
harmful to the operation of other electronic devices. Compliance
with FCC regulations does not guarantee that interference will not
occur in all installations. If this product is found to be the source of
interference, which can be determined by turning the unit “OFF”
and “ON”, please try to eliminate the problem by using one of the
following measures:
Relocate either this product or the device that is being affected by
the interference.
Utilize power outlets that are on different branch (circuit breaker or
fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the
antenna. If the antenna lead-in is 300 ohm ribbon lead, change the
lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results,
please contact the local retailer authorized to distribute this type of
product. If you can not locate the appropriate retailer, please contact
Yamaha Corporation of America, Electronic Service Division, 6600
Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
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 räjähtää, jos se on virheellisesti asennettu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty
paristo valmistajan ohjeiden mukaisesti.
NEDERLAND / THE NETHERLANDS
Dit apparaat bevat een lithium batterij voor geheugen back-up.
This apparatus contains a lithium battery for memory back-up.
Raadpleeg uw leverancier over de verwijdering van de batterij op
het moment dat u het apparaat ann het einde van de levensduur
afdankt of de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
For the removal of the battery at the moment of the disposal at the
end of the service life please consult your retailer or Yamaha
Service Center as follows:
Yamaha Music Nederland Service Center
Address : Kanaalweg 18-G, 3526 KL UTRECHT
Tel : 030-2828425
Gooi de batterij niet weg, maar lever hem in als KCA.
Do not throw away the battery. Instead, hand it in as small chemical
waste.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in
accordance with the following code:
GREEN-AND-YELLOW: EARTH
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus
may not correspond with the coloured markings identifying the
terminals in your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be
connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or colored GREEN or
GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the
terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the
terminal which is marked with the letter L or coloured RED.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
FCC INFORMATION (U.S.A.)
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
FCC/E/qx 11/12/98 5:52 PM Page 4
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. These precautions include, but are not limited to, the following:
Do not open the instrument or attempt to disassemble the internal parts or
modify them in any way. The instrument contains no user-serviceable parts. If
it should appear to be malfunctioning, discontinue use immediately and have
it inspected by qualified Yamaha service personnel.
Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill into
any openings.
If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the instrument, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the instrument
inspected by qualified Yamaha service personnel.
Only use the voltage specified as correct for the instrument. The required
voltage is printed on the name plate of the instrument.
Always connect the three-pin attachment plug to a properly grounded power
source. (For more information about the main power supply, see page 17.)
Before cleaning the instrument, always remove the electric plug from the
outlet. Never insert or remove an electric plug with wet hands.
Check the electric plug periodically and remove any dirt or dust which may
have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the
instrument or other property. These precautions include, but are not limited to, the following:
Do not place the power cord near heat sources such as heaters or radiators,
and do not excessively bend or otherwise damage the cord, place heavy
objects on it, or place it in a position where anyone could walk on, trip over,
or roll anything over it.
When removing the electric plug from the instrument or an outlet, always hold
the plug itself and not the cord. Pulling by the cord can damage it.
Do not connect the instrument to an electrical outlet using a multiple-
connector. Doing so can result in lower sound quality, or possibly cause
overheating in the outlet.
Remove the electric plug from the outlet when the instrument is not to be
used for extended periods of time, or during electrical storms.
Before connecting the instrument 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 not use the instrument near other electrical products such as televisions,
radios, or speakers, since this might cause interference which can affect
proper operation of the other products.
Do not place the instrument in an unstable position where it might
accidentally fall over.
Before moving the instrument, remove all connected cables.
When cleaning the instrument, use a soft, dry cloth. Do not use paint
thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
Also, do not place vinyl, plastic or rubber objects on the instrument, since
this might discolor the panel or keyboard.
Do not rest your weight on, or place heavy objects on the instrument, and do
not use excessive force on the buttons, switches or connectors.
Use only the stand/rack specified for the instrument. When attaching the
stand or rack, use the provided screws only. Failure to do so could cause
damage to the internal components or result in the instrument falling over.
Do not operate the instrument for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If
you experience any hearing loss or ringing in the ears, consult a physician.
REPLACING THE BACKUP BATTERY
This instrument contains a non rechargeable internal backup battery which
permits internal data to remain stored even when the power is off. When the
backup battery needs replacing, the message "Battery Low" will display in the
LCD. When this happens, immediately back up your data (using an external
device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then have
qualified Yamaha service personnel replace the backup battery.
Do not attempt to replace the backup battery yourself, in order to prevent the
possible serious hazards. Always have qualified Yamaha service personnel
replace the backup battery.
Never place the backup battery in a location that a child can reach, since a
child might accidentally swallow the battery. If this should happen, consult a
physician immediately.
SAVING USER DATA
Save all data to an external device such as the Yamaha MIDI Data Filer MDF3,
in order to help prevent the loss of important data due to a malfunction or
user operating error.
Yamaha cannot be held responsible for damage caused by improper use or
modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
(1)-3
cPRECAUTIONS/E/qx 9/24/98 8:20 PM Page 5
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. 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.
Please read this owner’s manual carefully, and follow the instructions within in order to ensure proper operation. Also
keep this manual in a safe place for later reference.
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 6
7
Contents
FS (Formant Shaping) and
FM (Frequency Modulation) Synthesis........................8
FS Synthesis ......................................................................................8
*Formant Control...........................................................................9
*Formant Sequences:“FSeqs” ....................................................10
*Other Formant Applications ......................................................11
FM Synthesis....................................................................................11
*FM In Brief .................................................................................12
Putting It All Together.......................................................................13
The Controls & Connectors ........................................14
Front Panel.......................................................................................14
Rear Panel .......................................................................................16
Setting Up .....................................................................17
Power Supply...................................................................................17
MIDI Connections ............................................................................17
*Keyboard...................................................................................17
*Sequencer or Computer............................................................18
*G50 Guitar MIDI Converter .......................................................18
*WX-series Wind MIDI Controller................................................18
Audio Connections ..........................................................................19
*Headphones..............................................................................19
*Instrument Amplifier or Stereo Sound System ..........................19
*Mixing Console..........................................................................19
Power-on Procedure ........................................................................20
Play the Demo..................................................................................20
The PLAY Mode............................................................21
Performance & Voice Organization .................................................21
*Performance Combinations.......................................................21
*Voices ........................................................................................21
*Bank Selection via MIDI ............................................................22
The Play Mode (Performance).........................................................22
Perf Ch (Performance Channel) .................................................23
(Bank) .........................................................................................23
(Program Number)......................................................................23
Pfm Vol (Performance Volume)...................................................23
Pfm Pan (Performance Pan) .......................................................23
RevRtn (Reverb Return)..............................................................23
VarRtn (Variation Return) ............................................................24
PfmNSft (Performance Note Shift) ..............................................24
The PART ASSIGN Mode.................................................................24
Rcv Ch (Receive Channel) .........................................................25
Rcv Max (Maximum Receive Channel: parts 1 & 2 only)...........25
(Bank) .........................................................................................25
(Program Number)......................................................................25
Volume ........................................................................................25
Pan..............................................................................................25
RevSend (Reverb Send).............................................................26
VarSend (Variation Send)............................................................26
InsEfSw (Insertion Effect Switch)................................................26
DryLvl (Dry Level).......................................................................26
Filter (Filter Frequency 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 PERFORMANCE...........................................................44
EDIT [EFFECT].................................................................................45
Effect Signal Flow .......................................................................45
Rev..............................................................................................45
Type .......................................................................................46
Type-Specific Reverb Parameters.........................................46
Reverb Pan ............................................................................46
Rev Return .............................................................................46
Var...............................................................................................46
Type .......................................................................................46
Type-Specific Variation Parameters.......................................46
Var Pan ..................................................................................47
Var Return ..............................................................................47
SendVarRev ........................................................................47
Ins ...............................................................................................47
Type .......................................................................................47
Type-Specific Insertion Parameters.......................................47
Ins Pan...................................................................................47
SendInsRev.........................................................................48
SendInsVar..........................................................................48
InsDryLevel............................................................................48
EQ ...............................................................................................48
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
EDIT [VOICE] ...................................................................................50
COMMON ...................................................................................50
*LFO1 (Low Frequency Oscillator 1).....................................51
*LFO2 (Low Frequency Oscillator 2).....................................52
*Filter......................................................................................53
*PitchEG (Pitch Envelope Generator)....................................57
*Others...................................................................................58
OPERATOR .................................................................................61
*Osc (Oscillator) ....................................................................62
*EG (Amplitude Envelope Generator) ...................................66
*FrqEG (Frequency EG).........................................................67
*Sns (Sensitivity) ....................................................................68
STORE VOICE.............................................................................70
RECALL VOICE...........................................................................70
UTILITY Functions .......................................................71
SYSTEM ...........................................................................................71
*Master........................................................................................71
*MIDI ...........................................................................................72
*Control .......................................................................................74
*Others........................................................................................76
DUMPOUT .......................................................................................77
*DUMPOUT Operation................................................................77
INITIAL .............................................................................................78
DEMO...............................................................................................78
Troubleshooting ...........................................................79
Alert Display .................................................................82
Specifications...............................................................83
Index..............................................................................84
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 7
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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. 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. The bonus is that the base FS
technology has been realized using an architecture which also lends itself ideally to FM synthesis, similar to the type
introduced in the legendary Yamaha DX-series synthesizers and TX-series tone generators. Thus the FS1R can
create anything from totally new simulations of human vocal sounds to classic DX electric piano voices, 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 human speech, the vocal cords themselves are only capable of creating the basic
driving sound and defining pitch (similar to the oscillator in a music synthesis system). The formants which define
the sounds of speech are created by the shape of the vocal cavity (i.e. the trachea and mouth). 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 envelope shape than formant shape for recognizability. 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 FS synthesis
system consists of 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).
The term “operators” is borrowed from Yamaha FM synthesis, because the FS1R’s voiced operators can be
combined in a variety of “algorithms” to create sound in exactly the same way as in the original FM synthesizers
such as the DX7.
1 2 3 4 5
Operators
Voiced
Unvoiced
Formants
6 7 8
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 8
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).
As an example, suppose we have a formant configuration that produces an “a” type sound. This can be changed to
an “i” sound by shifting the center frequencies and levels of the formants. If this is done in real time at an
appropriate speed, we produce the sound “ai”.
This type of formant control can be accomplished 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
manual control while playing. Either of these methods of formant control are all you’ll need to create musical sounds
for most applications, but the last and most complex type of formant control on the FS1R is made possible by
“FSeqs” (Formant Sequences), described in the following section.
=“a”
=“i”
Level
Width
Skirt
Center Frequency
9
1/FS1R/OM/E.qx 10/19/98 6:28 PM Page 9
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 [VOICE] mode OPERATOR/Osc/.....................................................Page 62
EDIT [VOICE] mode OPERATOR/EG/ ......................................................Page 66
EDIT [VOICE] mode OPERATOR/FrqEG/ .................................................Page 67
EDIT [VOICE] mode OPERATOR/Sns/ .....................................................Page 68
The following parameter groups and parameters are essential for manual and MIDI formant control. Refer to the
parameter descriptions for details:
EDIT [PERFORMANCE] mode COMMON/CtrlSrc....................................Page 30
EDIT [PERFORMANCE] mode COMMON/CtrlDst....................................Page 31
EDIT [PERFORMANCE] mode PART/Tone/Formant.................................Page 37
EDIT [PERFORMANCE] mode PART/Tone/FM.........................................Page 37
EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
EDIT [VOICE] mode OPERATOR/Sns/Freq Bias......................................Page 69
EDIT [VOICE] mode OPERATOR/Sns/Width Bias ....................................Page 69
EDIT [VOICE] mode COMMON/Others/Formant .....................................Page 59
EDIT [VOICE] mode COMMON/Others/FM..............................................Page 59
The following parameter groups and parameters are essential for LFO1 formant control. Refer to the parameter
descriptions for details:
EDIT [VOICE] mode COMMON/LFO1/FreqModDepth ............................Page 52
EDIT [VOICE] mode OPERATOR/Sns/Freq 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 to produce voice-like phrases, rhythm loops,
and more. FSeqs are sequences of formant frequency, fundamental pitch, and level data which have been created
by analyzing the formant content of actual sounds. 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 when the “scratch” Fseq
mode is selected. 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).
Fseqs actually have 8 “tracks”, each of which contains the frequency and level data for one operator pair (voiced
and unvoiced). Normally, the Fseq tracks are assigned to the corresponding operator pair, but these assignments
can be changed for special effects.
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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/.....................................................Page 62
11
Other Formant Applications
By modifying our approach slightly and thinking of each FS1R formant operator as a combination of oscillator, filter,
and amplifier (similar to the standard VCA VCF VCA structure of traditional analog synthesizers), it is possible
to come up with some innovative uses for these flexible sonic building blocks. For example, although each formant
is basically a bandpass filter, if we broaden the bandwidth enough and lower the center frequency we end up with
what looks more like a low pass filter. If we add another narrow-bandwidth formant to our low-pass filter we end up
with a resonant low-pass filter.
The unvoiced operators also offer some unique possibilities. Although they basically produce noise, if the bandwidth
of the formant is made narrow enough we remove all harmonics and end up with a pure sine wave. Thus, in some
applications the unvoiced operators can actually be used as extra oscillators.
FM Synthesis
The fact that Formant Shaping synthesis uses a system of operators to produce sound is what makes it compatible
with FM (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 FM
synthesizers and tone generators the FS1R provides a range of 88 algorithms to choose from, and a choice of 8
different waveforms for each oscillator, thus significantly expanding the range of sound which can be produced.
And, of course, the ability to combine Formant Shaping with FM opens a whole new universe of musical possibilities.
Not only is the FS1R capable of reproducing the great sounds of the DX and TX-series instruments, it actually comes
with a complete set of 1,152 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 (See the separate “Data List” booklet for details on parameter compatibility).
nThe FS1R can receive bulk voice data from Yamaha DX-series synthesizers and TX-series tone generators. The received data (single voice)
will be loaded into the part 1 voice edit buffer of the currently selected performance setup.
Synthesized Low-pass Filter Synthesized Resontant Low-pass Filter
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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.
Much more complex harmonic spectra can be produced by using algorithms in which one or more operators
function as modulators, modulation the output of their respective carrier operators. In algorithm 6, for example,
operator 1 modulates operator 2, operator 3 modulates operator 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 even greater timbral complexity. Since each
operator has its own amplitude EG, a virtually unlimited spectrum of responsive, musical voices can be produced.
12
FM Synthesis Parameters
The following parameter groups and parameters are essential for basic FM synthesis. Refer to the parameter
descriptions for details:
EDIT [VOICE] mode COMMON/Others/...................................................Page 58
EDIT [VOICE] mode OPERATOR/Osc/.....................................................Page 62
EDIT [VOICE] mode OPERATOR/EG/ ......................................................Page 66
EDIT [VOICE] mode OPERATOR/Sns/ .....................................................Page 68
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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. There’s also a comprehensive
effect system including reverb, delay, modulation, and many, many more effects that can be used to refine and
polish your sound.
Indeed, the FS1R is a complex tone generator, and a thorough understanding can only be achieved through
experimentation. If you want to go beyond the presets provided (although they 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 28) to guide you.
The following diagrams show an overall view of how the tone generator PERFORMANCE and VOICE parameters are
related, and how the performance parts connect to the FS1R effect system.
PERFORMANCE
EQ
VARIATION
REVERB
INSERTION
UNVOICED OPERATOR
FILTER
VOICED OPERATOR
OUTPUT
IND.OUTPUT
LFO1
LFO2
PITCH EG
FSEQ
VOICE
FS1R Tone Generator Structure
FSEQ PART
FILTER SW
INS EF SW
REV/VAR SEND
CONTROLLER
13
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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 4
^ $% # @
5 6 7 8 9 ) !
1 PHONES Jack
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. The volume of the headphone
sound is adjusted via the [VOLUME] control.
2 Volume Control
Adjusts the volume of the PHONES and rear-panel R and L/MONO
outputs (the VOLUME control does not affect the INDIVIDUAL OUTPUT
jacks). Rotate clockwise to increase output volume.
3 Display
This large backlit liquid crystal display panel shows all parameters and
prompts necessary for easy, efficient operation and programming of
the FS1R. In addition, a row of icons across the bottom line of the
display simultaneously shows the status of a number of important
parameters (page 22).
The display contrast can be adjusted as described on page 76 for
optimum visibility.
4 [UTIL] Button
Selects the FS1R UTILITY mode. The UTILITY mode includes a range
of important utility functions that affect operation of the FS1R: SYSTEM,
DUMP OUT, INITIAL, and DEMO.
Details on page 71.
5 [PLAY] Button
Press this button to select the FS1R 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 provides access to all parameters
and functions you’ll need to edit and create new performance setups.
The EDIT [EFFECT] button takes you a range of effect and EQ
parameters that you can use to add the finishing touches to your
sound.
The EDIT [VOICE] button allows detailed editing of individual voices.
Details on pages 30, 45, 50.
7 [MUTE/SOLO] Button
In any mode other than Voice Edit the [MUTE/SOLO] button can be
used to mute or solo monitor the currently selected performance part.
In the Voice Edit mode, it can be used to mute or solo monitor the
selected operator.
8 PART [ ] and [ ] Buttons
When the PLAY mode is selected (page 22) these buttons select the
part (voice) to be played or edited. Either button can be pressed
briefly for single stepping in the specified direction, or held for
continuous scrolling. Pressing both buttons simultaneously switches to
the Performance Select (ALL parts) play mode.
When the EDIT mode is selected the PART buttons can be used to
switch between parameters without having to return to the EDIT mode
menu.
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15
9 Knob Mode Buttons
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). When both buttons are
disengaged and the PART ASSIGN mode is selected, the knobs can
be used to edit the currently selected parameter for all 4 performance
parts (page 24). When both Knob Mode Buttons are disengaged, the
knobs can be used to quickly select parts or operators and edit the
corresponding values (page 28).
) Controller Knobs
These four multi-function controller knobs make realtime sound control
and editing on the FS1R easier than ever. In the PLAY mode they allow
direct realtime control of the sound as well as parameter editing, and
in the EDIT mode they can be used to directly change parameters and
values for fast, efficient operation. The knobs can be assigned to the
various parameters for exceptionally versatile control.
Press the [ENTER] button while operating the knobs for faster value
selection.
! [POWER] Control
Press to turn power ON or OFF.
@ CURSOR [ ] and [ ] Buttons
These buttons are used to select sub-modes or parameters. In some
cases the selection will be made from a menu display, and in others
the CURSOR buttons will actually switch display pages.
# VALUE [ ] and [ ] Buttons
Used to select performance setups and voices, and to edit parameter
values. Either button can be pressed 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 where you are in the FS1R display structure,
pressing the [EXIT] button (a number of times if necessary) will
eventually return you to the PLAY mode.
% [ENTER] Button
The [ENTER] button is used to engage sub-modes, confirm input, and
execute certain operations. Double-clicking this button (i.e. press the
button twice in rapid succession) provides access to the MIDI View
mode (below).
^ [SEARCH] Button
The FS1R includes a vast range of presets, which can at time make it
difficult to locate a specific performance setup or voice. The SEARCH
mode makes it easier to locate to a desired performance setup or
voice by specifying the appropriate bank and categories.
Details on page 27.
MIDI View
This function displays the MIDI control change or system exclusive data string required to control the currently
selected parameter from an external MIDI device. The MIDI data is displayed in hexadecimal format.
To engage the MIDI View function first select the desired parameter in any mode other than the SEARCH
mode, then "double click" the [ENTER] button (i.e. press the [ENTER] button twice in rapid succession). The
MIDI View display will appear.
While the MIDI View function is engaged the VALUE [ ] and [ ] buttons can be used to change values, and
the CURSOR [ ] and [ ] buttons can be used to select different parameters.
Press the [EXIT] button to return to the previous display.
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16
Rear Panel
*& ( º
& Power Cord Connector
Plug the female end of the supplied AC power cord in here before
plugging it into an AC wall outlet.
Details on page 17.
* MIDI IN, OUT and THRU Connectors
The MIDI IN connector receives the data from an external keyboard,
sequencer or other MIDI device which is to control or transmit data to
the FS1R. The MIDI THRU connector simply re-transmits the data
received at the MIDI IN connector, allowing convenient chaining of
MIDI devices. The MIDI OUT connector transmits data corresponding
to FS1R controller knob operation, or bulk data 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
These are the main stereo outputs from the FS1R. Be sure to connect
both outputs to the appropriate channels of a stereo sound system in
order to appreciate the full quality of the FS1R sound and effects. The
L/MONO jack can be used alone when connecting to a mono sound
system (e.g. a musical instrument amplifier).
Details on page 19.
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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. Always make sure that the POWER switch is in the OFF (extended) position before plugging the power cord
into an AC outlet.
WARNING!
Make sure your FS1R is rated for the AC voltage supplied in the area in which it is to be used (as listed on
the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal
circuitry and may even pose a shock hazard!
Use only the AC power cord supplied with the FS1R. If the supplied cord is lost or damaged and needs to
be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and
shock hazard!
The type of AC power cord provided with the FS1R may be different depending on the country in which it is
purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding
conductor can create the risk of electrical shock. Do NOT modify the plug provided with the FS1R. If the
plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter
which defeats the grounding 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 cause data errors.
The FS1R MIDI receive channel number parameters are available via the PERFORMANCE PLAY and PART ASSIGN
mode displays (pages 22 and 24, respectively). Make sure these parameters are set to match the corresponding
settings of the MIDI controller used with the FS1R. See the MIDI Implementation Chart in the separate “Data List”
booklet, and the MIDI Data Format section beginning in the separate “Data List” booklet for details for the types of MIDI
data received and transmitted by the FS1R.
nThe [MIDI] icon in the FS1R display will appear whenever MIDI data is received by the FS1R.
nWhen using the FS1R with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data
format) of the equipment used to ensure compatibility.
Keyboard
This is the simplest type of setup you might use with the FS1R. Simply connect the MIDI OUT connector of the
keyboard to the MIDI IN connector on the FS1R with a MIDI cable. In this case you should set the PgmMode
parameter in the UTILITY/SYSTEM/MIDI group to “perform” (page 73).
MIDI
OUT
MIDI IN
MIDI Master Keyboard
or
Synthesizer
FS1R
MUSIC SYNTHESIZER
REALTIME CONTROL
EXTENDED SYNTHESIS
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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. each part can be played via separate MIDI channel) by setting the
PgmMode parameter in the UTILITY/SYSTEM/MIDI group to “multi” (page 73).
G50 Guitar MIDI Converter
The Yamaha G50 is a high-performance Guitar MIDI Converter designed to work in conjunction with the Yamaha
G1D or B1D Divided Pickup Unit installed on an electric or steel-string acoustic guitar. The FS1R is an ideal tone
generator for use with a MIDI guitar system 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 an ideal tone generator for use with a Yamaha WX-series Wind MIDI Controller such as the WX5 or
WX11. The WX5 can be directly connected to the FS1R MIDI IN connector, while the WX11 will require the optional
BT7 wind controller interface.
Special care must be taken with the following parameters and controls when using a WX-series Wind MIDI
Controller:
FS1R
WX5
MIDI Out MIDI In
FS1RG50
G1D etc.
MIDI Out
MIDI In
DIVIDED
DIVIDED
MONO SYNTH
Computer
MIDI
Interface
EX5 etc.
FS1R
MIDI In MIDI Out
MIDI Out
MIDI Thru
MIDI In
MIDI In
MUSIC SYNTHESIZER
REALTIME CONTROL
EXTENDED SYNTHESIS
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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.
Velocity
The WX Wind MIDI Controllers transmit breath attack information in the form of MIDI velocity data. Yamaha
recommends, however, that you set the FS1R velocity to a fixed value in order to facilitate breath control of volume.
However, if velocity is the only means you have of controlling volume and timbre, then it might be a good idea to
allow some velocity sensitivity particularly when playing voices such as bass, drums, and piano, which depend on
the characteristics of the attack for their sound.
Velocity sensitivity parameter details on page 68.
Breath Control
Breath strength information is transmitted by the WX Wind MIDI Controllers in the form of MIDI breath control data
which is primarily used to control volume and timbre. Make sure that the FS1R is set to receive breath control, and
initially set the breath control response so that the full breath control range can be used, then readjust for the
optimum range while actually playing the WX Wind MIDI Controller.
Breath control assignment and sensitivity parameter (Amp EG Bias) details on pages 69, 71 and 75.
Audio Connections
Headphones
For private listening and practice headphones are ideal. You don’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 FS1R voices and effects are designed to sound their best in stereo, so you should always use a stereo sound
system to appreciate the full impact of the FS1R voices and expressive features. The OUTPUT L/MONO and R jacks
can be connected directly to musical instrument amplifiers designed for keyboard use, or to the line inputs of a
mixing console. It is also possible to connect the outputs directly to the inputs of a multitrack or stereo tape recorder.
When connecting to a mono sound system be sure to use only the OUTPUT L/MONO jack.
nIf you need to drive a mono amp or other device, connect only the L/MONO output jack. The left and right channel signals are
automatically combined and delivered via the L/MONO jack when a single phone plug is inserted in this jack and the R output jack is left
unconnected.
nMake sure that both the FS1R and your sound system are turned OFF when making connections.
Mixing Console
In addition to the stereo OUTPUT L/MONO and R jacks, the FS1R has two individual outputs: the INDIVIDUAL
OUTPUT L and R jacks. The stereo and individual outputs can be fed to separate channels of a mixing console for
individual processing. Individual “parts” of a performance setup can be assigned to the individual outputs via the
PLAY mode InsEfSw parameter (page 26) and EDIT PERFORMANCE Mode COMMON/Others/IndOut parameter
(page 35).
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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!).
1.
Make sure your sound system’s main level/volume control(s) and the FS1R volume control are turned all
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.
Raise the sound system volume to a reasonable level.
6.
Gradually raise the FS1R VOLUME control while playing the MIDI controller to set the desired listening
level.
nSome keyboards and other MIDI controllers automatically transmit MIDI control change data corresponding to their control status when the
power switch is turned ON or OFF. The FS1R is programmed to receive this data and respond accordingly, so it is preferable to turn the
FS1R ON before turning the controlling device ON.
Play the Demo
Once you’ve set up your FS1R system, you might like to play the pre-programmed demo 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 if it’s OK to go ahead with the
demo, or [EXIT] to abort.
4.
Select a Song
Use the VALUE [ ] and [ ] buttons to select the demo song number you want to start with.
5.
Run the Demo
Press the [ENTER] button to run the demo. Playback will start with the selected song, then all other songs will
be played in sequence. The cycle will repeat until stopped.
6.
Stop the Demo
Press the [EXIT] button to stop demo playback. This will return you to the demo song select display.
7.
Return To the Play Mode When Done
Press the [PLAY] button to return to the PLAY mode.
nAfter demo playback, data corresponding to the voices used in the demo will remain in the FS1R edit buffer. Demo voice bulk data,
program change and other events can be handled in the same way as other FS1R data.
20
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