Yamaha CS2x Guía para resolver problemas descargar pdf (Pagina 36)

Naturally this isn’t all there is to it. The following are another four sequences that are particularly useful for

modern styles like House or Trance – you should like them.

EXAMPLE:

The Performances TP083/084 are really quite traditional. With the first you will hear a two bar Clarinet sequence. You

should keep your triggering chords held down for at least four beats on account of the daring downward octave jump and

special rhythm.

The next Performance is enriched with Pan and Echo effects, and would work nicely as a House piano. Here a single key

triggers an entire 7th chord (minor 7). Interesting also is the real-time control via Assign1/2. Knob 8 will let you vary the

chord note’s volume, whilst Knob 4 is used to vary the rhythmic resolution (Subdivide). Moving this knob fully clockwise

decreases the note values from 1/16 down to 1/32, which effectively doubles the speed of the sequence – one to use

quickly and impulsively!

To prove once and for all that the sound used is the most important element that gives the Arpeggio sequence its charac-

ter, we have assigned Arpeggio type “Echo&Pan” to a phased choir sound. The resulting sound can be found in TP085.

Hard to believe that this fourth and final example (TP086) is based on the same Arpeggio type, isn’t it? Particularly inge-

nious is the use of the differing dynamic values that are generated by the Arpeggio sequence. If the values exceed 92,

an “analogue” filter sound is heard (Layer2), if they are less you hear a “digital” sound instead (Layer1).

Keeping in Line

It doesn’t always make sense to trigger arpeggios with triads or other chords. Often it is better to play a sin-

gle note, or the Arpeggiator may reduce polyphonic playing to a single note anyway. Naturally we have some

examples for this, and will comment on them below.

EXAMPLE:

The first Performance (TP087) is a good example of arpeggio filter modulation. Combined with the distortion effect the fil-

ter movements are nicely pronounced and should set well even with Hardcore Freaks. As mentioned before, play this

Performance with a single note only. Triads wouldn’t really be useful here because of the fuzz effect. A second voice

however may be added if you insist. A listen to the third Arpeggio Demo will reveal all.

The second Performance (TP088) is living proof that a bass line Arpeggiator type isn’t restricted to bass sounds. Here

we are using a particularly flavoursome sequence, seasoned to taste with a hefty dose of flanging. The Arpeggiator

insists on playing only the root and 3rd notes, even if you play a triad; this is a good thing.

Perhaps you prefer to work with monophonic sequences, but the Arpeggiator occasionally produces two or

more notes at once. No problem, with the aid of a small trick: simply use the Poly/Mono function to reduce

your Arpeggio to one note, just like that. This opens up a whole new bag of variation possibilities, which in

turn affect the Arpeggio pattern. A little example should make this clearer.

EXAMPLE:

Change Performance TP089 to POLY (Layer1). Now if you trigger the Arpeggiator, you can if so desired play polyphonic

chords. This would however be a little impractical with bass sequences, especially if you use the Portamento function. As

you will have already seen in the Analogue Workshop, sounds are supposed to be played monophonically with this func-

tion. We have already set up the Performance this way and thereby enabled the “Techno-B” Arpeggio type for bass lines.

While you’re at it, try out Performances TP090 and 091. Experiment a little with the Portamento and Poly/Mono functions

to give you an idea of how Arpeggio sequences can be significantly altered with them.

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Yamaha CS2x Guía para resolver problemas Pagina 36