Yamaha CS2x Instrukcja Naprawy Pobierz pdf (Strona 41)

EXAMPLE:

You have selected Performance TP097. This is a classic lead sound which, thanks to Scene morphing can be played

very expressively. Aside from the Filter frequency, the Filter Envelope’s fade-in and out times are also modulated; this

time Assign1 is responsible for the fade-out phase. All three Layers of the Performance have to use the same fade-in

value if the fade-in times are to be modulated consistently (FEGAtkTime=+32). Scene1’s settings result in intense filter-

ing and a very drawn-out fade-in time. Holding down any key for more than 10 seconds will show how slow the fade-in

phase really is. Not so with the second Scene. Here the Filters” fade-in time is minimal and is markedly “opened” – so,

can you guess what happens during Scene morphing…?

Let’s look at Pan position modulation. Marked left-right movements within the stereo image don’t really cause a sensa-

tion these days. Great fun can be had however if other parameters are modulated in harmony. This really is the secret of

every effective Pan modulation! Let your imagination roam free. For example, choosing the oft recited Filter modulation

can never be wrong.

EXAMPLE:

For this too, we have prepared a little sound example (TP098). There is no need to work with opposite modulation inten-

sities here as the Performance contains only the one Layer – the Assign2 setting “Pan+32” will suffice. Now to the

Scenes: here the Performance is filtered quite differently and two completely different Pan positions are used. Morphing

from Scene1 to Scene2 will result in a filter sweep with the added tension of the left-right movements.

In contrast to all our previous Scene examples which focused exclusively on analogue synth sounds, we

would like to finish with an example to show that conventional sounds too can be played more dynamically

with Scene morphing. We have just touched on one of the classic weaknesses of ROM-Sample-Synthesiz-

ers. A waveform is simply reproduced and can often seem very static. Scene morphing is a new form of

modulation that, whilst not solving the problem completely, may contribute some new and interesting ideas.

EXAMPLE:

String sounds in particular are used in many different forms with sequencer arrangements. Often you will have utilised a

variety of sounds to better imitate playing techniques such as Marcato or Pizzicate. You can’t honestly say though that

you were completely happy with this approach. The crux of the matter are the envelopes; they should react to your play-

ing technique but instead you have to adapt your playing to them. Here the Scenes can provide a lot more flexibility. Why

not try this out for yourself with Performance TP099. After a short while you will find that Scene morphing allows the

string sound to be phrased much more distinctively.

The Effects

The Yamaha synthesizer offers a choice of three independent effects – Reverb, Chorus as well as a special

Variation effect. Although you cannot program the first two effects on the machine itself, the Variation effect

offers a plethora of parameters for you to play with. You can read up on this subject in the Appendix of the

manual as well as the chapter about song production. We would like to concentrate however on a few effect

types and their parameters.

In Performance mode the Variation effect can only be used with the Insert setting. In contrast to the Multi

mode you can however switch the effect on and off for each Layer. There is one thing that needs to be con-

sidered though: If you activate the Variation effect for all Layers (VARI SEND=On) you can’t set the Chorus

and Reverb intensities separately. In the real world this is a small price to pay, but you should be aware of

this phenomenon nonetheless. With the aid of a little exercise this will soon click into place.

EXPERIMENT:

Change the amount of Reverb (Rev Send) on Performance TP100. Setting Layer1 to (say) 040 will automatically set this

value of Layer2 also. This doesn’t happen if you disable the Variation effect for either Layer1 or 2 (Off). Now Chorus and

Reverb levels can be set for each Layer individually. This ability to use different effect levels for different Layers helps to

develop impressive, multi-dimensional sounds.

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