Yamaha CS2x Guía para resolver problemas descargar pdf (Pagina 40)

Scene Applications

Most startling first and foremost is the blending of two different sounds, which as we have already pointed

out is commonly known as morphing

. Most sound programmers using sample-synthesizers work with con-

trasting level modulations for two or more partial tones. With the CS2x this simplest and easiest method is

achieved with the aid of Assign2, i.e. Knob 8. By the way: if you haven’t fully aquainted yourself with the

Assign1/2 parameters and functions, we would recommend you read though the relevant pages in your man-

ual. Never fear, morphing is much more easily achieved than you may think. The next example should help

you understand the rules involved.

EXAMPLE:

Select Performance TP095. Naturally you need to activate both Scene switches (the LEDs will light up). So much for the

preparation, now let’s have some fun: hold any note and “morph” between Scene 1 and 2 using the Mod wheel. You are

now actually blending between a square wave (Scene1) and a sawtooth wave (Scene2). A glance behind the scenes

reveals the programming involved. Find the Assign2 page. The Performance is made up of two partial tones. Both com-

ponents are assigned Volume modulation, using different modulation intensities. The first Layer is set to a negative value

(-32), the second with a matching positive one (+32) – this is the real trick. Result: turn Knob 8 fully clockwise to hear the

Layer1 sound (Ld: Volfet A) and fully counterclockwise to hear the Layer2 sound (Ld: Volfet B).

The same process can be used to create other morphing sounds. If this type of Performance appeals to you,

use TP095 as a starting point. Make sure you use plenty of contrasting sound combinations. As always,

EXPERIMENTing is everything!

A Performance doesn’t always need to change so significantly as with the previously described level modu-

lation. Impressive sound developments can also be achieved without the help of Assign1/2. Modulating only

Filter and Envelopes can be interesting enough, especially where analogue synthesizer sounds are con-

cerned!

EXAMPLE:

Select Performance TP096. Here a heavily filtered and resonanced sawtooth with minimal fade-in and out times is trans-

formed into a harmonically rich pad sound with the usual envelope curves. Other parameters apart from the filter sweep

(achieved with only the Filter’s cutoff point) are affected as well. This gives the sound more universal applications.

Let’s stay with this Performance a little while, but this time deactivate the two scenes. Particularly noteworthy

are the two assignable knobs: play a little with Knob8. If you listen carefully, you will notice that turning the

knob counterclockwise causes LFO Amplitude modulation, whilst a clockwise turn results in LFO Filter fre-

quency modulation. Let’s now concentrate on the Assign1 knob. This is set to enable you to transpose the

entire Performance’s pitch by +/- 2 octaves. In contrast to the Pitch modulation with Assign2, the pitch can be

changed continuously, without the usual semi-tone steps. Consider Knob 4 as an additional Pitch wheel.

Let’s leave this aside for a moment: Why not assign Knob4 or Knob8 with Filter modulation? But which

should you choose? The central parameters Cutoff frequency and Resonance already have their own dedi-

cated knobs, so they are out of the equation. The following example might give a possible answer to this

question.

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Yamaha CS2x Guía para resolver problemas Pagina 40