653:, and the arpeggiator can also be applied to incoming MIDI data. Furthermore, the notes may be fixed or transposed via the synthesizer's keyboard or MIDI input. The step sequencer can be used to send control data, such as filter cutoff values or notes to the synthesizer's tone generator or to MIDI output. Both the arpeggiator and step sequencer have several looping modes. The 'Free Envelope Generator' (Free EG) is a powerful
1541:
29:
763:
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 AN1x responds to this due to its mature MIDI implementation and
733:
As well as promoting its "Analog
Physical Modelling", Yamaha referred to the AN1x as a "control synthesizer", in a similar vein to the CS1x and CS2x. 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
787:
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-8000. To counter these early misgivings, a sound set was released
724:
The voice signal initially passes through the variation and EQ sections in series, then on to the delay and reverb sections. 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
660:
Note: If the tempo is set to 40bpm, with a 4/4 count, this would result in 48 seconds of recording time per track. 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
532:
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
753:
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
762:
Being a first-generation virtual analog synthesizer, the AN1x's controller resolution responds by default to 128 increments from its built in controllers. Consequently, the user will sometimes hear slight but distinct stepping of the filter, especially when more pronounced resonance is used.
749:
input sockets, a footswitch input socket, and eight assignable parameter control knobs. The underlying philosophy of this arrangement is that the user doesn't have to alter the actual sound editing parameters whilst playing, instead using the assignable real-time controls mentioned above.
585:
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
353:, 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
372:. 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
657:
feature that allows the user to record controller movements for up to four parameters, '4 tracks, 1 parameter per track' for a duration of up to 16 seconds each, or 8 bars that are tempo linked.
272:. 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
717:
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
779:, and the chassis base is metal. Dimensions: 986 mm (38.8 in) (W) × 285 mm (11.2 in) (D) × 103 mm (4.1 in) (H). Weight: 7.5 kg (17 lb).
594:
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-
795:
In 2000, Yamaha used the AN1x synthesis architecture to produce the PLG150-AN plugin board for the CS6x. The following year, Yamaha followed the AN1x with the AN200, a
95:
2× oscillators per voice: square/ sawtooth/ pulse width/ ring modulation/ noise/ FM/ variable wave-shapes (Edge - sine/triangle)/ Saw2/ Inner1-3/ slave(sub) osc on osc1
178:
Reverb, delay, EQ, chorus, flanger, symphonic, phaser, auto pan, rotary speaker, pitch change, aural exciter, compressor, wah, distortion, overdrive, amp simulator
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with 16 steps, 256 total sequence patterns, 128 voice patterns 'one per voice' + 128 user patterns. All 256 patterns can be overwritten for use, and a 'Free
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325:
subsequently became
President of DSD Inc., a research and development division of Yamaha. During his time at Yamaha, in addition to his work on
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of ten notes, although the actual polyphony depends upon the playing mode the synthesizer is set to. These being either a single monotimbral
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mode is active. Dual mode halves polyphony to five notes per voice, dividing each of the two internal 5-note DSP processors between both
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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
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sound set, which contained clones of some of the JP-8000 presets. This helped to demonstrate the sound capabilities of the AN1x.
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can be set for panning, as well as the tuning of the five layered oscillators. The overall effect is not too dissimilar from the
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253:. Yamaha, having already been working on physical modelling synthesis for a number of years, released the AN1x in mid-1997.
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590:. LFO1 comprises 21 waveforms: 5× sine variations, 5× triangle variations, 3× square variations, 4× saw variations and 4×
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EQ, can be bypassed at will. Additionally, realtime controllers can be designated to control specific effect parameters.
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is only possible for single voices, each key takes two notes, of the same timbre, one from each of the two processors.
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621:(VCA) is routed back to the oscillator mixer before the main filter, and frequency modulation can be used alongside
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range of polyphonic analog synthesisers. Yamaha purchased the rights to
Sequential Circuits in 1987, following the
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recognition. The result being a smoothing out of the filter sweep, therefore giving a more authentic analog feel.
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effect types include three types of hall reverb, two types each of room and stage reverb, and a plate reverb.
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The effects section contains three different sets of programmable effects, as well as a programmable 3-band
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537:(FM), comprising four algorithms, where the first oscillator is modulated by the second. Finally there is
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2× low frequency oscillators per voice: sine/ sawtooth/ square/ triangle/ s&h/ mix (21× waveforms)
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Free EG loops can also be set in various ways, as well as the keyboard tracking and triggering.
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Generator' '128 user patterns, one per voice'. The arpeggiator and sequencer can both output to
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The AN1x is a duo-timbral synthesizer, having two individual sets of voice parameters, called
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625:. The AN1x has a comprehensive modulation matrix, comprising 16 sources and 96 destinations.
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from 1997 to 1998, and was marketed as an "analog physical modelling control synthesizer".
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data can be copied from, or saved to a different voice patch entirely. When the AN1x's
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601:, which is situated in series with a multimode resonant filter, the latter offering a
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The AN1x is a first-generation virtual analogue physical modelling synthesizer. After
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613:(BEF). The multimode filter is capable of resonant self oscillation. Additionally,
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Whilst the AN1x has a similar chassis to other Yamaha synthesizers, such as the
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concepts. Research that laid the foundations for the development of the AN1x.
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waves are possible by altering the shape of pulse waves. The AN1x has a
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messages to a number of numerical parameters within the sound engine.
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and particularly the
Prophet 10 synthesizers, as well as Yamaha's own
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Pitch bend, modulation wheel, ribbon controller, 8× realtime controls
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533:(LFO1), either jointly or individually. The AN1x has twin operator
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Filters, envelopes, low frequency oscillators and control matrix
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and TG33, Smith also worked on physical modelling synthesis and
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1394:
1324:. Vol. 23, no. 11. California. 1997. pp. 65–72.
870:, Daniel Ruppar of Down In The Lab/One Chord Till Anarchy, and
264:, this is where the similarity ends. The latter use pre-loaded
1249:. No. 59. Future Publishing. August 1997. p. 20.
741:, a modulation wheel, a pressure-sensitive (X-axis,Z-axis)
577:
can be applied to waveforms other than the sawtooth wave.
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will have five notes of polyphony. The AN1x has a maximum
455:
mode, the synthesizer is monophonic for each of the two
806:
The AN1x has been used by numerous artists, including:
1386:
Yamaha Synth Book AN2015 - Virtual Analog iphone app
292:
etc., are all digitally modelled and rendered using
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360:The user can either quickly switch between the two
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557:thickens up the sound considerably. Additionally,
306:of the AN1x contains simulated characteristics of
513:are available for the first oscillator (OSC1) in
435:separately; dual timbral. In mono or dual modes,
229:(a.k.a. virtual analog synthesizer), produced by
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549:mode, the AN1x layers five oscillators for each
249:in 1995, Roland followed suit in 1996 with the
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268:to generate sound, thus categorising them as
8:
1274:. No. 141. December 1997. p. 37.
737:The user controls include: Keyboard pitch,
1413:
1399:
1391:
1299:. Vol. 14, no. 1. January 1998.
673:(EQ). The 14 variation effect types are:
471:The voice architecture is based on a dual
368:individual parameters, rather than simply
27:
18:
1059:
1057:
713:, overdrive and amp simulator. The five
128:1× resonant multi-mode & 1× high-pass
891:"Yamaha AN1x Virtual Analog Synthesizer"
882:
775:The keyboard's main housing is made of
553:timbre. Whilst this reduces polyphony,
395:, dual timbrality is possible, whereby
968:
958:
321:of the company. Sequential's founder,
1243:"Cover Feature: Synth head-to-head".
1178:
1176:
1174:
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60:£899 (1997) $ 1495
7:
403:data on two separate channels. Each
427:, and whether the note-multiplying
14:
1148:Rovito, Markkus (1 August 2001).
1539:
1122:Metts, Allan (1 November 2000).
987:"Yamaha PLG150AN & PLG150PF"
739:velocity and channel aftertouch
605:(LPF), high-pass filter (HPF),
364:, or morph between them, which
33:AN1x Virtual Analog Synthesizer
16:Synthesizer introduced in 1997
1:
1071:. August 1997. Archived from
345:Scenes and voice architecture
619:voltage controlled amplifier
439:uses five notes per key per
85:2× voices (Scenes 1 & 2)
1902:Virtual analog synthesizers
637:with 30 preset patterns, a
479:. Available waveforms are:
302:It has been noted that the
227:analog modeling synthesizer
1928:
1537:
1422:Yamaha musical instruments
1108:Yamaha AN1x Owner's Manual
1043:Yamaha AN1x Owner's Manual
333:, which culminated in the
193:61 keys, portamento, split
1873:
788:by Yamaha UK, called the
26:
1150:"Yamaha AN200 and DX200"
771:Physical characteristics
168:128 patches (256 Scenes)
65:Technical specifications
1907:Polyphonic synthesizers
1088:Yamaha AN1x Preset List
629:Sequencing capabilities
611:band elimination filter
274:subtractive synthesizer
1295:"Yamaha AN1x review".
866:, Jesper Anderberg of
482:Pulse-width modulation
459:. In polyphonic mode,
399:can be set to receive
384:mode is set to either
266:sample-based synthesis
245:released the original
1357:"AN1x Owner's Manual"
1351:on 21 September 1999.
1212:"Yamaha AN1x preview"
758:Controller resolution
633:The AN1x features an
260:and particularly the
1912:Digital synthesizers
535:frequency modulation
509:. Additional waves,
467:Waveform oscillators
339:software synthesizer
308:Sequential Circuits'
1897:Yamaha synthesizers
1297:Electronic Musician
1154:Electronic Musician
1128:Electronic Musician
1124:"Yamaha PLG Series"
922:www.polynominal.com
783:Reception and usage
729:Control synthesizer
503:Saw/Pulse Wave mix
331:wavetable synthesis
154:Velocity expression
1845:Consumer keyboards
1011:"About Sequential"
971:has generic name (
941:Inc., Equipboard.
864:Above & Beyond
850:, Jacob Thiele of
820:Velvet Acid Christ
754:assigned to them.
419:layered or split,
231:Yamaha Corporation
1884:
1883:
858:, Antti Pouta of
808:Jean Michel Jarre
743:ribbon controller
559:stereo separation
477:multi-mode filter
215:
214:
198:Left-hand control
138:2× ADSR envelopes
1919:
1877:List of products
1745:MIDI controllers
1543:
1415:
1408:
1401:
1392:
1382:
1376:
1372:"AN1x Data List"
1367:
1361:
1352:
1347:. Archived from
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1234:. Archived from
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1075:on 3 March 2016.
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1038:
1021:
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1007:
1001:
1000:
995:. Archived from
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872:Boards of Canada
747:expression pedal
607:band-pass filter
599:high-pass filter
393:Dual/Dual Unison
376:. Additionally,
206:External control
31:
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1776:Music computers
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1320:"Yamaha AN1x".
1319:
1294:
1270:"Yamaha AN1x".
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1242:
1238:on 6 June 2015.
1210:
1207:
1205:Further reading
1202:
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1146:
1142:
1132:
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1111:. pp. 6–7.
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999:on 8 June 2015.
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824:Nine Inch Nails
816:History Of Guns
785:
773:
760:
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631:
623:oscillator sync
603:low-pass filter
592:sample and hold
583:
539:ring modulation
515:oscillator sync
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1334:External links
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1218:. April 1997.
1216:Sound on Sound
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1069:Sound On Sound
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992:Sound on Sound
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860:Pariisin Kevät
836:Igor Khoroshev
799:-type desktop
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727:
691:rotary speaker
666:
663:
655:motion control
639:step sequencer
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579:
573:, except that
563:Roland JP-8000
545:. When set to
507:Saw/Square mix
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346:
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299:processor(s).
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1713:Effects units
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1188:Vintage Synth
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1184:"Yamaha AN1x"
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943:"Yamaha AN1x"
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918:"Yamaha AN1X"
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895:Encyclotronic
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665:Multi effects
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1606:Workstations
1435:
1429:Synthesizers
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1349:the original
1344:
1321:
1296:
1272:Making Music
1271:
1246:Future Music
1244:
1236:the original
1215:
1191:. Retrieved
1187:
1157:. Retrieved
1153:
1143:
1131:. Retrieved
1127:
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1087:
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1073:the original
1068:
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997:the original
990:
981:
950:. Retrieved
946:
936:
925:. Retrieved
921:
898:. Retrieved
894:
885:
812:Psyclon Nine
805:
801:sound module
794:
789:
786:
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752:
736:
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723:
715:delay effect
695:pitch change
668:
659:
649:and sync to
632:
584:
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386:Split/Split
385:
381:
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366:interpolates
361:
359:
350:
348:
301:
255:
240:
218:
216:
183:Input/output
149:Yes, channel
40:Manufacturer
1729:Grooveboxes
1091:. pp.
1046:. pp.
969:|last=
777:ABS plastic
635:arpeggiator
543:white noise
370:crossfading
319:dissolution
237:Development
219:Yamaha AN1x
143:Aftertouch
117:Subtractive
52:1997 - 1998
1891:Categories
1792:Sequencers
1461:CS30/CS30L
1263:1032779031
1016:Sequential
952:2018-07-09
947:Equipboard
927:2018-07-09
900:2018-07-09
878:References
868:The Sounds
711:distortion
703:compressor
609:(BPF) and
473:oscillator
425:polyphonic
421:monophonic
323:Dave Smith
145:expression
134:Attenuator
91:Oscillator
81:Timbrality
1836:Clavinova
1561:MU Series
1531:Tenori-on
1326:200030855
1313:832435772
1305:0884-4720
1288:499235180
1280:0269-2651
1255:0967-0378
1232:795937427
1224:0951-6816
856:808 State
852:The Faint
797:groovebox
671:equaliser
617:from the
511:Inner 1-3
409:polyphony
311:Prophet 5
247:Nord Lead
71:Polyphony
1855:PSR-E323
1580:Samplers
1516:PSR-E323
1322:Keyboard
961:cite web
643:Envelope
615:feedback
596:resonant
571:waveform
567:supersaw
519:Triangle
304:firmware
270:romplers
189:Keyboard
75:10 notes
1865:VSS-200
1851:PSR-550
1663:Montage
1549:Modules
1193:15 June
1159:17 July
1133:18 July
848:Dubstar
685:, auto
679:flanger
485:(PWM),
355:timbres
251:JP-8000
225:-based
174:Effects
163:Storage
1860:VSS-30
1824:Pianos
1808:Organs
1720:D-1500
1592:VSS-30
1521:SHS-10
1466:Reface
1379:Yamaha
1364:Yamaha
1345:Yamaha
1341:"AN1X"
1311:
1303:
1286:
1278:
1261:
1253:
1230:
1222:
790:London
745:, two
719:reverb
683:phaser
675:Chorus
575:Unison
555:Unison
547:Unison
517:mode.
505:, and
494:Square
461:Unison
457:Scenes
453:Unison
437:Unison
433:Scenes
429:Unison
417:Scenes
415:, two
397:Scenes
388:Unison
374:Scenes
362:Scenes
351:Scenes
327:vector
288:, and
276:. The
243:Clavia
165:memory
124:Filter
44:Yamaha
1831:CP-70
1694:RX-11
1668:Genos
1658:Tyros
1653:YS200
1618:Motif
1597:A3000
1587:TX16W
1571:TX81Z
1506:DX100
1446:CS-80
1441:CS-15
1375:(PDF)
1360:(PDF)
832:Phish
551:Scene
441:Scene
413:Scene
405:Scene
382:Layer
378:Scene
221:is a
57:Price
49:Dates
1815:GX-1
1799:QY10
1783:CX5M
1767:WX11
1752:KX-5
1736:RM1x
1704:PTX8
1689:RX-5
1643:SY99
1638:SY85
1633:SY77
1566:TG77
1556:FS1R
1526:SY22
1511:GX-1
1501:DX27
1496:DX21
1491:DX11
1456:CS2x
1451:CS1x
1436:AN1x
1309:OCLC
1301:ISSN
1284:OCLC
1276:ISSN
1259:OCLC
1251:ISSN
1228:OCLC
1220:ISSN
1195:2018
1161:2019
1135:2019
973:help
765:NRPN
647:MIDI
588:LFOs
541:and
530:Edge
523:sine
521:and
499:Saw2
449:Mono
445:Dual
401:MIDI
335:SY22
329:and
297:VLSI
290:LFOs
286:VCFs
282:VCAs
278:VCOs
262:CS2x
258:CS1x
217:The
210:MIDI
22:AN1x
1762:WX7
1757:WX5
1699:TMX
1684:DTX
1648:V50
1628:S90
1623:S80
1613:EX5
1486:DX9
1481:DX1
1476:DX7
1095:-9.
1050:-5.
846:of
840:YES
838:of
707:wah
687:pan
501:,
488:Saw
451:or
423:or
391:or
294:DSP
223:DSP
157:Yes
101:LFO
1893::
1470:CS
1377:.
1362:.
1343:.
1307:.
1282:.
1257:.
1226:.
1214:.
1186:.
1169:^
1152:.
1126:.
1067:.
1056:^
1025:^
1013:.
989:.
965::
963:}}
959:{{
945:.
920:.
909:^
893:.
874:.
862:,
854:,
842:,
834:,
830:,
826:,
822:,
818:,
814:,
810:,
803:.
709:,
705:,
701:,
697:,
693:,
689:,
497:,
491:,
447:,
357:.
315:CS
284:,
280:,
1472:)
1468:(
1414:e
1407:t
1400:v
1381:.
1366:.
1328:.
1315:.
1290:.
1265:.
1197:.
1163:.
1137:.
1093:8
1048:4
1019:.
975:)
955:.
930:.
903:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
