Recent from talks
Yamaha AN1x
Knowledge base stats:
Talk channels stats:
Members stats:
Yamaha AN1x
The Yamaha AN1x is a DSP-based analog modeling synthesizer (a.k.a. virtual analog synthesizer), produced by Yamaha Corporation from 1997 to 1998, and was marketed as an "analog physical modelling control synthesizer".
The AN1x is Yamaha's first virtual analogue physical modelling synthesizer. After the Korg Prophecy and Clavia Nord Lead were both released in 1995, Roland followed suit in 1996 with the JP-8000. Yamaha, having already been working on physical modelling synthesis for a number of years, released the AN1x in mid-1997.
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's proprietary 'virtual analog' technology, models the components that traditionally occupy the signal path of an analog subtractive synthesizer. The VCOs, VCAs, VCFs, and LFOs etc., are all digitally modelled and rendered using DSP VLSI processor(s).
It has been noted that the firmware of the AN1x contains simulated characteristics of Sequential Circuits' Prophet 5 and particularly the Prophet 10 synthesizers, as well as Yamaha's own CS range of polyphonic analog synthesisers. Yamaha purchased the rights to Sequential Circuits in 1987, following the dissolution of the company. Sequential's founder, Dave Smith subsequently became President of DSD Inc., a research and development division of Yamaha. 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.
The AN1x is a duo-timbral synthesizer, having two individual sets of voice parameters, called Scenes, for each of the 128 voice patches. 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 user can either quickly switch between the two Scenes, or morph between them, which interpolates individual parameters, rather than simply crossfading. 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. When the AN1x's Layer mode is set to either Split/Split Unison or Dual/Dual Unison, dual timbrality is possible, whereby Scenes can be set to receive MIDI data on two separate channels. 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 mono or dual modes, Unison uses five notes per key per Scene for a single voice (1 processor × 5 notes), or two notes per key for a dual voice (2 processors × 1 timbre per processor); thus, in Dual, Mono or Unison mode, the synthesizer is monophonic for each of the two Scenes. 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.
The voice architecture is based on a dual oscillator design with multi-mode filter. Available waveforms are: Pulse-width modulation (PWM), Saw, Square, Saw2, Saw/Pulse Wave mix, and Saw/Square mix. Additional waves, Inner 1-3 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 128 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 master and/or slave oscillator within OSC1 can be modulated by the first low-frequency oscillator (LFO1), either jointly or individually. 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-8000 supersaw waveform, except that Unison can be applied to waveforms other than the sawtooth wave.
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. The AN1x has two LFOs. LFO1 comprises 21 waveforms: 5× sine variations, 5× triangle variations, 3× square variations, 4× saw variations and 4× sample and hold variations. LFO2 consists of a triangle wave only. These affect all notes at once, i.e. monophonic LFOs. The LFOs are fast, up to the audible note range. The AN1x has a non-resonant high-pass filter, which is situated in series with a multimode resonant filter, the latter offering a low-pass filter (LPF), high-pass filter (HPF), band-pass filter (BPF) and band elimination filter (BEF). 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.
Hub AI
Yamaha AN1x AI simulator
(@Yamaha AN1x_simulator)
Yamaha AN1x
The Yamaha AN1x is a DSP-based analog modeling synthesizer (a.k.a. virtual analog synthesizer), produced by Yamaha Corporation from 1997 to 1998, and was marketed as an "analog physical modelling control synthesizer".
The AN1x is Yamaha's first virtual analogue physical modelling synthesizer. After the Korg Prophecy and Clavia Nord Lead were both released in 1995, Roland followed suit in 1996 with the JP-8000. Yamaha, having already been working on physical modelling synthesis for a number of years, released the AN1x in mid-1997.
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's proprietary 'virtual analog' technology, models the components that traditionally occupy the signal path of an analog subtractive synthesizer. The VCOs, VCAs, VCFs, and LFOs etc., are all digitally modelled and rendered using DSP VLSI processor(s).
It has been noted that the firmware of the AN1x contains simulated characteristics of Sequential Circuits' Prophet 5 and particularly the Prophet 10 synthesizers, as well as Yamaha's own CS range of polyphonic analog synthesisers. Yamaha purchased the rights to Sequential Circuits in 1987, following the dissolution of the company. Sequential's founder, Dave Smith subsequently became President of DSD Inc., a research and development division of Yamaha. 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.
The AN1x is a duo-timbral synthesizer, having two individual sets of voice parameters, called Scenes, for each of the 128 voice patches. 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 user can either quickly switch between the two Scenes, or morph between them, which interpolates individual parameters, rather than simply crossfading. 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. When the AN1x's Layer mode is set to either Split/Split Unison or Dual/Dual Unison, dual timbrality is possible, whereby Scenes can be set to receive MIDI data on two separate channels. 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 mono or dual modes, Unison uses five notes per key per Scene for a single voice (1 processor × 5 notes), or two notes per key for a dual voice (2 processors × 1 timbre per processor); thus, in Dual, Mono or Unison mode, the synthesizer is monophonic for each of the two Scenes. 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.
The voice architecture is based on a dual oscillator design with multi-mode filter. Available waveforms are: Pulse-width modulation (PWM), Saw, Square, Saw2, Saw/Pulse Wave mix, and Saw/Square mix. Additional waves, Inner 1-3 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 128 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 master and/or slave oscillator within OSC1 can be modulated by the first low-frequency oscillator (LFO1), either jointly or individually. 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-8000 supersaw waveform, except that Unison can be applied to waveforms other than the sawtooth wave.
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. The AN1x has two LFOs. LFO1 comprises 21 waveforms: 5× sine variations, 5× triangle variations, 3× square variations, 4× saw variations and 4× sample and hold variations. LFO2 consists of a triangle wave only. These affect all notes at once, i.e. monophonic LFOs. The LFOs are fast, up to the audible note range. The AN1x has a non-resonant high-pass filter, which is situated in series with a multimode resonant filter, the latter offering a low-pass filter (LPF), high-pass filter (HPF), band-pass filter (BPF) and band elimination filter (BEF). 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.