A new version of Zeeedit was released on Jan 1st 2013. PC only.
People may well quibble about the license terms (42 euro locked to one computer), however I think it is an excellent investment if you intend to get serious use from the FS1r.
Sakura is also excellent, but Zeeedit wins on presentation – everything is laid-out beautifully in comprehensive overviews. This makes the FS1r very accessible to me. YMMV.
I decided to record my largely incoherent ramblings on Zeeedit – doing so provides an overview of the FS1r architecture. This will bore the hell out of 99.99999999% of people. But I think it might be be useful to the new FS1r owner struggling in the waves. Hence, and for posterity…
No loud noises in these ones…
The FS1R is a synthesiser. That means it makes up its sounds from scratch, unlike a sampler, which fundamentally plays back a digital recording like a tape recorder, or many other keyboards which, although called synths, are actually a combination of samples and synthesis.
via Yamaha FS1R tutorial | Technical Problems.
Crystal is useful for making synthetic sounds that don’t occur in nature. If instead you want truly human vocal sounds, you’re probably better off with a sampler. Although, even with a sampler, realistic human voices are notoriously difficult to achieve. In this tutorial however, we’re aiming to get synthetic sounds with a vowel-like character.
Nice tutorial from the developers of Crystal VST. Relevant for FS1R.
A closer look at the programming of Formant-based patches, using a Choir example.
The two largest spaces in the vocal tract, the throat and mouth, therefore, produce the two lowest resonant frequencies, or formants. These formants are designated as F1 (the throat/pharynx) and F2 (the mouth). In singing or speaking, it is these two lowest formants that are controlled by shaping the resonant areas with lip and tongue movements to produce vowels.
via The National Center for Voice and Speech – Tutorials
Rule-driven formant synthesis is a legacy technique that still has certain advantages over currently prevailing methods. The
memory footprint is small and the flexibility is high. Using a
modular, interactive synthesis engine, it is easy to test the
perceptual effect of different source waveform and formant
filter configurations. The rule system allows the investigation
of how different styles and singer voices are represented in
the low-level acoustic features, without changing the score. It
remains difficult to achieve natural-sounding consonants and
to integrate the higher abstraction levels of musical
Index Terms: formant synthesis, singing
Sten Ternström, Johan Sundberg
VOWEL SOUND AS IN… F1 F2 F3
“ee” leap 270 2300 3000
“oo” loop 300 870 2250
“i” lip 400 2000 2550
“e” let 530 1850 2500
“u” lug 640 1200 2400
“a” lap 660 1700 2400
Finally, let’s take a look at how the FS1R imitates the frequency response of a harmonically rich signal (or noise) passed through a resonant low-pass analogue filter (see Figure 16, above right). Yes, yes… we’ve seen it all before, but bear with me one more time.
Surprisingly, we can reconstruct this frequency response using just two formants — one with a centre frequency of 0Hz and a Q of, say 0.1, and one with a centre frequency equal to the analogue filter’s Fc, and with a Q of, say, 10 (see Figure 17, right).
The result is remarkable. What’s more, we can make the formant-generated sound respond very similarly to the analogue case. To be specific, we can shift the perceived cutoff frequency by moving the centre frequency of the upper formant while narrowing the Q of the lower formant by an appropriate amount. Do this in real time, and you have a sweepable filter. Furthermore, we can increase and decrease the perceived resonance by increasing or decreasing the amplitude of the upper formant alone.
via Synth Secrets, Part 23: Formant Synthesis