Yamaha CS2x Instrukcja Naprawy Pobierz pdf (Strona 26)

Summary

We’ve made it – that was a lot to take in! Now spoil yourself, relax to a little demo sequence we prepared ear-

lier (TUTRDEMO.MID), and listen for special guest appearances by the Analogue Workshop All-stars!

(A) The song begins with a Performance with two oscillators that are detuned against each other in real-time

using Assign2 (Knob 6). We’d like to point out once again that fine tuning the VCOs

can sound interest-

ing in itself and provides for many yet unexplored possibilities. In general, today’s approach to VCOs is

quite different from what is was in the ’70s and ’80s. Most TB-303 type bass sounds were programmed

with just a single VCO, something that has become fashionable once again. Back then, mighty Minimoog

basses using three oscillators (!) were very popular. Today, two VCOs are commonly detuned against

each other, particularly with lead or sequencer sounds.

(B) You will hear a sequencer theme starting at bar 9, which we will use to demonstrate a little trick: the

sound is initially programmed without Filter Resonance

, but this becomes active in the second half (bar

13-17). Note how the sound is changed. It suddenly sounds fresher and as a result is more discernible in

the arrangement. If you wish to apply this little artistry to other sounds, you need to ensure that the cutoff

frequency used is set to the maximum value, otherwise you will hear the typical synth bass or sweep

sound resonance filter effect.

first you can hardly hear this sound’s filter sweep as the amplitude isn’t set correctly for it. At bar 21, how-

ever, the sound’s fade-out time is increased (Assign1: AEGDcyTime) and now the filter sweep’s develop-

ment has become audible. To summarize: the filter envelope is only fully effective when the amplitude

envelope is stable enough.

(D) Bar 33 introduces a pad sound. The sound does seem a little bland, despite the lively beating produced

by its two detuned VCOs. This becomes even more obvious in bar 39, where the same chords are played

by a synth pad for comparison. The sound’s richness here is due to intensive LFO Pitch Modulation

. In

the most extreme cases you can even forgo the Chorus effect altogether, which can be a great help,

especially with the Multi mode’s tricky effect assignment.

(E) The next example will show just how and when the Amplitude LFO

can be applied: it doesn’t always have

to involve synth sounds. An acoustic guitar sound can be invigorated with Tremolo effects, too, especially

when blended-in authentically with Knob8. Pay particular attention to when the Tremolo is applied. With a

little practice you’ll be able to play many sounds authentically using real-time control.

(F) Bar 54 introduces an extra classy analogue sound: no, you’re not listening to the CS2x effects here,

these echo effects are part of the sound! This is done with the aid of the Amplitude LFO, here using the

sawtooth LFO waveform

to imitate this effect. The effect is emphasized six bars later with determined fil-

ter modulation. This trick can be especially useful in the Multi mode (as in example D), where the Varia-

tion effect may already be assigned to other tasks and no “Delay” is available.

(G) We’re now playing a simple chord sequence with two different LFO Phase settings

: you won’t notice any-

thing special in the first instance, as all voices start with their respective triggering as expected (Phase

Init: Retrigger). If you set the LFO to “Free Run” however, the notes are triggered irregularly. This is dem-

onstrated by the repeated chord sequence, which is now played by Performance TP064. We have rein-

forced these irregularities with random Pan movements (“Random”).

Illustration: The CS2x Mono Function – ideal for Solo or Bass Sounds.

1 2 ... 21 22 23 24 25 26 27 28 29 30 31 ... 76 77

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