AN1X MANUAL PDF

Check Prices The AN1x is a powerful retro-analog synth with a really cool new feature that lets you record real-time editing and filtering and be able to store it as part of the sound! A major contender in the new wave of analog-digital synths using DSP modeling of analog waveforms to recreate the coveted sounds of analog synths with modern digital specifications. It offers truly traditional yet modern methods of analog synthesizing, 10 notes of polyphony, 8 knobs for tweaking, and an arpeggiator with dozens of inspiring patterns! However the function of every knob and button has been greatly expanded. The AN1x also has 2 Scene memories for instant recall of any envelope and filter settings and the mod-wheel can be used to morph between the two scenes.

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Development[ edit ] The AN1x is a first-generation virtual analogue physical modelling synthesizer. Yamaha, having already been working on physical modelling synthesis for a number of years, released the AN1x in mid Whilst the AN1x has a similar chassis to other Yamaha synthesizers, such as the CS1x and particularly the CS2x , this is where the similarity ends.

The latter use pre-loaded sample-based synthesis to generate sound, thus categorising them as romplers. The AN1x on the other hand is a fully fledged synthesizer. Yamaha purchased the rights to Sequential Circuits in , following the dissolution of the company. During his time at Yamaha, in addition to his work on vector and wavetable synthesis , which culminated in the SY22 and TG33, Smith also worked on physical modelling synthesis and software synthesizer concepts. Research that laid the foundations for the development of the AN1x.

Within each voice, each scene can be programmed to be similar sounding variations of each other, two identical copies of the same sound, or even two completely different sounding timbres. The result being complex new timbres being heard whilst morphing.

It is also possible to save a snapshot of the timbre at any point during a morph, to become a new baseline timbre for one of the Scenes. Additionally, Scene data can be copied from, or saved to a different voice patch entirely.

Each Scene will have five notes of polyphony. The AN1x has a maximum polyphony of ten notes, although the actual polyphony depends upon the playing mode the synthesizer is set to. These being either a single monotimbral Scene, two Scenes layered or split, monophonic or polyphonic , and whether the note-multiplying Unison mode is active.

Dual mode halves polyphony to five notes per voice, dividing each of the two internal 5-note DSP processors between both Scenes separately; dual timbral. In polyphonic mode, Unison is only possible for single voices, each key takes two notes, of the same timbre, one from each of the two processors. Additional waves, Inner are available for the first oscillator OSC1 in oscillator sync mode. Triangle and sine waves are possible by altering the shape of pulse waves.

The AN1x has a wave shaping Edge tool, which can facilitate intermediate waves. The first oscillator can be split to have a master, main and a tuneable slave sub-oscillator, when activated via three oscillator sync algorithms.

The AN1x has twin operator frequency modulation FM , comprising four algorithms, where the first oscillator is modulated by the second. Finally there is ring modulation and white noise. When set to Unison mode, the AN1x layers five oscillators for each Scene timbre. Whilst this reduces polyphony, Unison thickens up the sound considerably.

Additionally, stereo separation can be set for panning, as well as the tuning of the five layered oscillators. The overall effect is not too dissimilar from the Roland JP supersaw waveform ,[ citation needed ] except that Unison can be applied to waveforms other than the sawtooth wave. Filters, envelopes, low frequency oscillators and control matrix[ edit ] Each of the two scenes that make up a single voice is composed of an amplitude envelope, a filter envelope, a pitch envelope, and a three-band equaliser.

These affect the combined two oscillators on a per-note basis. LFO2 consists of a triangle wave only. These affect all notes at once, i. The LFOs are fast, up to the audible note range. The multimode filter is capable of resonant self oscillation. Additionally, feedback from the voltage controlled amplifier VCA is routed back to the oscillator mixer before the main filter, and frequency modulation can be used alongside oscillator sync. The AN1x has a comprehensive modulation matrix, comprising 16 sources and 96 destinations.

Both the arpeggiator and step sequencer have several looping modes. When applied to a voice, the Free EG becomes an intrinsic component of the voice whilst it is played, allowing for complex and evolving organic movement of sound. The way in which the Free EG loops can also be set in various ways, as well as the keyboard tracking and triggering.

Multi effects[ edit ] The effects section contains three different sets of programmable effects, [2] as well as a programmable 3-band equaliser EQ. The five delay effect types are: Delay left-centre-right LCR , delay left-right LR , echo, cross delay and tempo delay, which automatically matches the delay time to the current tempo setting. The eight reverb effect types include three types of hall reverb, two types each of room and stage reverb, and a plate reverb.

The delay and reverb sections can be configured to operate in either series or parallel. Individual effects sections variation, delay, reverb or all effects, excluding the EQ, can be bypassed at will. Additionally, realtime controllers can be designated to control specific effect parameters. This is due to each voice patch in the AN1x having 20 "control sets", which utilise assignments of the user-adjustable controls and MIDI control change messages to a number of numerical parameters within the sound engine.

The physical keyboard action includes velocity, aftertouch, and portamento. The X-Z ribbon controller, responds to horizontal sweeps and pressure.

The eight realtime control knobs can also be pressed to display their current parameter values. Each knob and controller can have multiple parameters assigned to them. Consequently, the user will sometimes hear slight but distinct stepping of the filter, especially when more pronounced resonance is used. However, there are several workarounds: The first is to press the control knobs while rotating them to access smoother increments.

The second method involves the use of a MIDI controller or synthesizer, whose controllers generate higher resolution data values. The result being a smoothing out of the filter sweep, therefore giving a more authentic analog feel. Weight: 7. Reception and usage[ edit ] Though containing more features than its contemporaries, the control interface of the AN1x initially proved frustrating for some users, due to its programming being matrix-based rather than one control per parameter like the Roland JP This helped to demonstrate the sound capabilities of the AN1x.

That being said, as with learning any new workflow, programming the AN1x becomes fairly intuitive and straight forward once mastered.

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