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Performance Mode: Practical Knowledge

Now that we have looked in detail at the CS2x sound components and its Arpeggiator, let’s devote some

time to its Performance Mode. The following three subjects should generate particular interest: use of the

knobs and Scenes, Effect applications and, finally, tips and tricks for live applications. If you haven’t already

transferred the relevant sound bank (“TUTORPFM. MID”) to your CS2x, you should do so now.

Scenes – what are they?

Let’s begin with Scenes. You may not be familiar with this term. The principle that it is based on, however, is

easily explained: each of the two Scene switches can be used to store all eight knob positions in a Perfor-

mance, which can later be recalled by simply pressing the right switch. In the simplest case scenario, each

switch is used to select a tonal variation of the sound used. You could for instance use the knobs to speed-up

a pad sound’s fade-in and out times, thereby making it more suitable for rhythmic or solo playing, and then

save these settings to one of the Scene switches. Now you can effortlessly change between the two sound

types without having to switch Performances.

EXAMPLE:

Let’s assume you often play pad sounds, but want to use them also in other ways. The Preset sound P101 allows you to

switch at lightning speed from a slow fade synth pad (Scene 1) to another variant (Scene 2) that can be used for melodic

phrases or certain themes. Often it is helpful enough to be able to call-up different filter settings with the Scenes (P093),

but as you can already alter the Filter’s frequency with knob 5/6, using Scenes may seem a little awkward. However, ask

yourself how often you have been able to spontaneously find exactly the right frequency with the knob.

Synth brass sounds also benefit greatly from having two variants ready to call-up. The Preset sound P110 reveals itself

to be particularly flexible. Whilst the Scene 2 setting is suited to pad parts, Scene 1 lends itself to much more up-front

keyboard riffs. The golden middle ground, a nicely balanced brass sound, is occupied by the Performance itself, i.e.

when none of the Scene keys are depressed.

The tonal possibilities offered by Scenes increase dramatically, however, when both Scenes are activated

simultaneously. You can now “fade” between the two stored knob positions, from Scene 1 to Scene 2 and

back again. The CS2x’s Utility mode factory settings assign this task to the Mod wheel as standard. Just as

effective however is the use of a connected rocker pedal. Doing so will leave the Mod wheel free for other

tasks like Filter or Vibrato effect. Of course you will need to assign these playing aids afresh in the UTILITY

mode. Select the ASSIGN CTRL NO and press one of the Scene switches. Now use the Up/Down knob to

find the “Foot Ctrl” setting – and you’re done.

So, what can be done with this? Well, let’s say you have programmed a high Resonance value for Scene 1,

and a low value for Scene 2. Increasing the Controller value (MW/FC) will now continuously decrease the

sound’s Resonance. Of course if you only want to vary a sound’s Resonance you can achieve this just as

easily with the respective knob – the use of Scenes would be illogical here. The point is that you can control

many modulations simultaneously with Scenes – a single movement can affect the central Envelope param-

eters (knobs 1+2+3), Filter (knob 5+6+7) and a further two freely definable Control knobs (4+8) all at once –

to great effect!

The best results can be achieved with clever programming of Assign1/2. You can for instance achieve

morph-like effects if you are working with volume level modulation. Put simply: a piano changes into a string

sound. Or you can use Scene morphing

to shape a moderate pad sound into a cutting sequencer sound –

the possibilities are endless. Let’s explore such sounds using the “learning by doing” principle! Don’t worry,

we aren’t going to leave you out in the cold. We have five examples that show what can be fabricated with

the Scenes.

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Yamaha CS2x Guía para resolver problemas Pagina 38

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