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Lastly, the somewhat tricky subject of Touch Sensitivity. The CS2x offers no fewer than four related functions

(see section “Performance”, “Velocity” in the manual). More often than not, you will want to finely tune a Per-

formance’s touch dynamic individually. How is this achieved?

EXPERIMENT:

The Performance’s touch sensitivity can be set using the Velocity Offset function. In order to fully exploit the whole

dynamic range, Velocity Depth should be set to maximum 127. Select Performance TP053. Now gradually increase the

Offset value. See what happens? The touch sensitivity is beginning to stabilize. This sounds great. Unfortunately the

tone is getting brighter. That’s not quite right! Why is this happening? The culprit here is the Material Voice. It is pro-

grammed to increase the filter frequency with increasing key velocity. Therefore, increasing the offset value also

increases the sound’s harmonic overtones. Beware – many other sounds exhibit this behaviour too when their touch sen-

sitivity values are changed.

Many sound creators take particular pride in their famous Velocity Switch sounds. To prove the point, we

have created four sounds, which will demonstrate the practical uses of velocity switching.

EXAMPLE:

Acoustic instruments in particular can be made to be much more dynamic using Velocity Switch, such as string sound

(TP054). When played energetically, the second Layer, with its faster fade-in and out times and a more transparent tim-

bre, will be heard at velocity value 81 and beyond to underscore your more intense playing style. The simple Rhodes

sound (TP055) serves to demonstrate how different effect settings, too, can be utilised in these dynamic separations.

When this sound is played particularly hard, the “Auto-Wah” Variation effect is activated for Layer3 (at a velocity range of

120 - 127). Layer 3’s Hall setting has also been reduced in order to emphasise the Wah effect.

These dynamic separations can produce some pretty wild effects, particularly suited to Dance productions.

Why not use velocity switching to trigger individual accord sounds for example? Try it with a house piano,

way-out analogue sounds, or as we have done in our example a choir sound (TP056). Creative velocity

switches are particularly effective when used with rhythmic parts. You could for example layer two drum kits

(snares) and switch between them dynamically (TP057). Again, remember to make use of the effects and

any of the other sound components, too - it’s a great way to create highly original sequences.

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