FB-01 Patches

I've seen a bit of discussion around the web of how to edit patches on the Yamaha FB-01 but not much about the large amount of patches that are already out there. There are many excellent patches that have been around for years (in many cases decades). In my opinion, you'd be hard pressed to come up with some better sounds than many of these.

To upload these to your FB-01 all you need is a simple MIDI SysEx program. For Mac OSX I recommend SysEx Librarian. It makes sending and receiving MIDI SysEx data extremely easy.

So without further ado, I give you all the FB-01 patches (that I am aware of).

DX21 Patches for FB01.zip - First off, this patch collection contains all the DX-21 patches converted for use with FB-01. Many of them are a good deal better than the factory standard patches for the FB-01. I also included a couple DX-100 patches (the few that aren't on the DX-21 and actually worth mentioning), including the original "WildWar" patch.

Tims FB01 Patches.zip - Next we have these really cool patches from Tim's Atari MIDI World. Some very polished and big sounding lead patches and some warbley almost Boards of Canada style analog sounds here.

FB01 Bobby Clark.zip - Next are these very cool patches that have been around for years. Originally created for the DX-21 by Bobby Clark, I have converted them to work with the FB-01. Again, a lot of great lead sounds and some really cool effects type patches.

FB01 Patch Archive.zip - And lastly this massive patch archive of well over 3000 individual patches. Naturally there's a good amount of mediocre material to sift through but there are some gems hidden away. It's broken into three different collections;

• fb01a_0 - this is the largest of them. A lot of heavy techno sounds, maybe an excessive amount actually. But the FB-01 is kind of lacking in that department so they can be useful. There a few more cool things on here, some absolutely killer Hammond B3 patches.
• 1-20 - a decent sized set, these are some more that I converted from DX-21 user patches.
• FB01 - the best of the bunch. I especially like the "ether" and "synvox" patches. I couldn't get the "plucked" and "strings" files to work though.

A note on how I converted the DX-21 patches; I've used an old AtariST program by Martin Tarenskeen that does the necessary formatting of the files as well as adjust the operator levels to roughly the correct scale for the FB-01.

Yamaha 4OP Comparison

Here's a quick comparison of the classic Yamaha 4 operator FM synths. Created as inexpensive alternatives to the 6 OP DX7, when handled with care these synths are capable of some great sounds. First off, naturally, they all have four operators; one being the carrier frequency and the other three the modulating frequencies. Another thing is they all seem to have 8 note polyphony. So looking around a bit, the consensus on the difference in sound between these comes down to; multitimbrality or how many instruments it can play at once, the waveshape of the operators and the bit depth of the digital to analog converter (DAC).

DX-21

Multitimbral: Mono

Waveshape: Sine

DAC Bit Depth: 10 bit

DX-27 / DX-100

Multitimbral: Mono

Waveshape: Sine

DAC Bit Depth: 10 bit

FB-01

Multitimbral: 8 part

Waveshape: Sine and Noise

DAC Bit Depth: 10 bit

TX81Z / DX-11

Multitimbral: 8 part

Waveshape: 8 shapes

DAC Bit Depth: 12 bit

TQ-5

Multitimbral: 8 part

Waveshape: 8 shapes

DAC Bit Depth: 12 bit

So looking at this as a timeline we can see some changes occurred with the FB-01 with the addition of 8 part multitimbrality and the ability to set one of the operators as a noise generator. Then the TX81Z added the ability to change the waveshape outright. The other important thing folks seem to point out on this is the 12 bit DAC on the TX81Z. You might wonder how the bit depth at the input side of the DAC could really make any difference, and honestly I'm not so sure myself, but people claim that it gives the signal more breathing room resulting in a fuller sound. The 10 bit DACs seem to result in a more lo-fi gritty sound (and a really good bass sound). There are camps that swear by either side so it's definitely a personal preference thing.

Addendum: So the FB-01 actually is unique in the way it handles programming the voices. The volume of the operators is controlled on a 0 - 127 scale, all the other 4OP synths use a 0 - 99 scale. I think this is the main reason the stock voices are not up to par with the rest of the Yamaha 4OP synths. Basically the engineers at Yamaha had to relearn the whole system to program the voices; probably not worth it for a product that was supposed to be the cheapest of their synth range. So they probably pushed it through quickly to get something on the market. There are a handful of decent patches on there but most people prefer to program their own for this unit.

For an extremely in depth analysis, check this guy's page: http://www.angelfire.com/in2/yala/2fmsynth.htm

He refers to the FB-01 range as the "CX". I assume what he actually means is the "SFG-01 / SFG-05" which were the sound modules on the CX5M computer. I intend to follow this post up with a more in depth post on the FB-01 explaining the relationship of these units.

Stratocaster Series Wiring

Here are some switch wiring options I came up with to get some new sounds out of any strat style guitar without making any drastic modifications. Normally in the 2 and 4 positions on a strat the pickups are in parallel and have a thin sound. Series wiring is closer to what a true humbucker is like.

This one is for a 3-way switch, keeping it real simple and just giving you the 3 most useful positions. You could also use this wiring with a 5-way; the 2 position would be bridge and neck in parallel and the 4 position would be another neck position.
This one is for a 4-way switch. It gives you all the options I think most people would want. Unless you're a bridge humbucker kinda guy in which case you would wire it the same but with the bridge wired like the neck and the neck wired like the bridge.

Another 4-way switch option that makes the strat work more like a 2 humbucker guitar at the two outer positions and 2 single coils in the center positions.

John Squire's Sound

So I've compiled a short description of how to get a guitar sound like John Squire, the guitarist from the seminal 80s british rock band, The Stone Roses. I'm using The Squire Files as a starting point, however, I get more specific in many areas I feel have been overlooked. Here I've concentrated specifically on his sound from "Waterfall" but it can be applied to a lot of other songs too.

He plays a Gretsch Country Gentleman on almost all the early songs. He started playing a Strat a little later on but one of the key elements to his early sound is a guitar with humbuckers. Most any guitar with average output humbuckers can get you the sound. I know, you're like, but it sounds so chimey! You can't get that with humbuckers! Not only is he playing with humbuckers I'm pretty sure he using the neck pickup. Yea, that's right. Here's the key, look at the picture, look where he's playing, all the way down by the bridge. Playing like this on most humbucker equiped guitars combined with the right effects will absolutely nail the sound.

So, about those effects...



This picture is from their television performance of Waterfall. You can watch the video on youtube. The guy doesn't have the most unique pedal selection but instead relies on some old standards. He's definitely more defined by his playing style than his specific choice of effects. If you didn't have these exact effects you could still get 95% there.

The pedal closest to us in the picture is a TS-9 Tubescreamer. It's a pedal used by probably millions of guitar players. It gives his sound a mid boost and adds some grit. These are being re-issued currently and you can get them new for around $100. Not bad. But the other option is to get a TS7 which you can easily find for less than half that price. The TS7 has the exact same circuit as the TS9. It's not just close to it, like the TS10 and TS5, it is the exact same circuit. But it also has a "HOT" mode switch. So really it's like a TS9 plus.

Apparently that far pedal, the first one in his chain is an Ibanez CS-9 Stereo Chorus. In the picture it looks like a darker pedal and the CS-9 is a light violet color but apparently there are some early ones that are a dark red color. I have no first hand experience with this specific chorus but looking at the market it seems to be a really good value for a classic analog chorus. You can usually find the re-issues used on eBay for around $85. The comparable BOSS CE-2 (out of production) would cost you at least twice that much.

So the pedal in the middle is pretty unmistakably a Fuzz Face. He uses this pedal for some extra crunch when playing a solo. So if you look real closely you can tell by the knobs that it is a Crest Audio Re-Issue. These were being produced around the mid to late 80's so it would make sense for him to have one of these. These are an NPN silicon transistor version of the fuzz face. They use BC109C transistors to be exact. Fuzz Faces are pretty popular with DIYers due to the simplicity of the circuit. It wouldn't be that hard to make one yourself or find a crafty person to make one for you.

He also uses an Alesis Midiverb or Quadraverb or some shit. A lot of people blab about this but seriously, most any digital reverb will approximate the sound.

So in summary the essential elements are: Guitar w/ humbuckers (neck pickup and played by bridge) --> Chorus --> Tubescreamer --> Amp (Fender and/or Mesa Boogie) w/ Reverb in effects loop. Fuzz Face for solos.