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…
A closer look at the programming of Formant-based patches, using a Choir example.
Going for a target this time. 90’s pop basses from the Yamaha 4-op FM synthesizers.
Still feeling my way around the FS1R waveforms…
Not totally sure why I am doing these vids, but it’s easy with Camstudio, so I said why not.
For reference / reminder. Click to view.
Still some hiss – attempting to correct.
First of a series of clips showing my adventures in learning the FS1R.
By far the best FS1R demo on Youtube, courtesy of the infectiously enthusiastic Mr. Katsunori from musictrackjp
Interesting tidbit from KVR circa 2005:
What makes the FS1R so unique is the extended battery of FM operators it offers. If you look at the classic X7 generation of FM ‘algorithms’ – the various ways in which operators can be routed together – there’s always at least one in which the operator feeds back into itself. This allows the operator to generate a waveform that is almost (but not entirely) random white noise, and is the only means by which an FM synthesizer can make plosive, textural and percussive sounds.
The great problem this causes is that these noise generators often have long periodic cycles that often (but not always) cause a cycling inharmonic interference to appear in extended notes. Try any X7 pad patch on a synth such as FM7 or a DX200 and you’ll probably (but not certainly) hear strange periodic shimmers, gargling and sibilance in pads that should be completely smooth when the note is held on for long periods. This distortion is a killer because it’s uncorrelated to the pitch of each note, varies with the pitch of each note and is almost impossible to equalize out.
The FS1R has 8 voiced operators (which generate the pitched tone) and 8 unvoiced operators (which generate enveloped white noise) allowing the creation of patches that have massively lower transient cycling in held notes, and the exertion of formants, allowing the strangest most ethereal voice pads any synth makes. This is further enhanced by a range of expressive change both across the keyrange and across note velocities that I’ve never encountered in any other synth.
via KVR :: View topic – FS1R