I'm actually thinking, if we added external side chaining and two knobs to Zebra's FMOs we could possibly add gazillions of possibilities. That, and maybe steal that "tap the map" option from ACE for FMOs and LFOs, and we would've cut the number of feature requests in half. Or so. Almost.

(no estimated release date)

Whenever it comes, that will be pretty exciting.

Sounds great!

Er, what would the two knobs do?

Maybe we'll know more after Musikmesse 2012!? :)

Hahaha... you *must* know something. And if you do, I guess you might be right.

Messe can't come soon enough... :)
Last edited by eXode on Mon Mar 19, 2012 5:46 am; edited 1 time in total

Absolutely. Our studio drowns in chaos. Yesterday we got the trussing system delivered. We decided to buy our own rather than rent because it pays off after about 2 shows. The kitchen is becoming a workshop for case building. Clemens and Fritz are sussing our bare bones systems with parts flying all over the place. And then there's front plates, potentiometers, packages with resistors and all sorts of things everywhere. Next week we shall get delivery of bags, brochures, usb sticks (in nice gift boxes).

Sounds most excellent to me good sir!

[quote="Urs"]I was bidding for FS1Rs on ebay couplatimes, but never won.

My main interest is, how do those formant things work? Are they merely bandpass filters behind each oscillator that do a similar thing as keytracking?

Or is each operator either a bandpass filter or an oscillator?
[/quote]

I have an FS1r in my studio. It's a very cool device indeed, but a little cumbersome to edit via the frontpanel.

Luckily there is a program here http://synth-voice.sakura.ne.jp/fs1r_editor_english.html

That program should be able to run without an Fs1r attached, so it can give you a good idea of how an FS1r runs internally. I can also fill you in on any other details on the FS1r, since I very familiar with it.

From what I remember there are quite a few operator oscillators you can choose from. Formant happens to be one of them... There is also a typical Sine operator and then few that are basically a sine fundamental with added odd, even, or both harmonics dropping off significantly. It basically sounds like a bandpassed saw/square. The formant is basically the same deal except that you can change the nuances of the bandpass filter via parameters. So you can basically have a wide bandpass narrow off while changing the slope of drop-off, etc. All this can be controlled by velocity, keytracking, Mod Wheel, etc. Sounds cooler than it actually is IMHO.

I personally found the formant stuff to be marginally usable and instead depended more on typical sine modulating sine type stuff. Each 'voice' (of which the fs1r has 4!) of the Fs1r can have up to 16 operators: 8 voiced (pitched oscillators) and 8 non-voiced (AKA noise through a bandpass). For most purposes, I was able to get good 'vox type' sounds without using any of the formant oscillators.

As far as FM sounds are concerned, the Fs1r is a superior to anything FM I've used in the software realm. When I started playing with the FMOps in Zebra, I immediately thought about how cool it would be to try fs1r type stuff and run it through Zebra's superior filter section.

Zebra is still overall a much more versatile synth.

Hum de doo (posted in wrong thread).

taken from a thread in instruments
regarding FM7/FM8 vs the yamaha's




i fully agree with this developer's comments.

u-he were first to get it right with the analo?gs (with diva)....maybe they can be the first to nail the yamaha's digitals too.
even a basic rick hastley's never gonna give you up dx7 bass doesn't sound right in Fm7.
all punchy dx basses lose all their punch and bite when imported in the various softwares...obviously something ain't right with hamronics/transients results. with tight settings it feels like a smudged copy of the original .

To me and fm blue is clearly better than fm8. even better presets etc. only good point in fm8 loads old Yamaha patches...
ps. must ahve good point i mean.

Urs did u read my previous post above with the quotes from aciddose? to get the same sound as the yamaha's it's essential that these points are taken care of in any future project/implemetation.

Well. I don't believe in everything AD says. Those earthshattering differences might as well be the result of aliasing, imagination and what not - effects all of which we want to avoid.

That said, my motivation to do emulations of any DX/SY series device is fairly limited