Yamaha CS2x Guía para resolver problemas descargar pdf (Pagina 45)

Live Applications

The CS2x is downright destined to be used as a Performance Synthesizer, not least because of it’s eye-

catching looks and very portable design. As a live musician you will be confronted with a unique set of prob-

lems, so we’d like to show you a few tricks to help you achieve those tasks and keep you in control of your

CS2x when on stage.

A keyboard sound’s moment of truth comes especially when playing live. Fundamentally, your Performances

should meet two main criteria here. For one the sound has to be endowed with plenty of harmonics

. If neces-

sary, you can boost certain frequency regions. Secondly you should mostly use fast attacks for sounds. A

harmonically rich E-piano sound with a gentle attack phase

would not really be suited for live performance.

Here are a few tricks to help you set up your Performances for live applications:

EXPERIMENT:

The attack phase of sound TP115, as you can hear, is hardly optimal. This E-piano sound is missing the characteristic

bell-like attack component. We have prepared this hammer noise for you. All you need to do to make it audible is set the

Volume for Layer1 to the maximum 127. Now the Rhodes sound will assert itself in your arrangement thanks to this little

insider’s trick, which can of course be used for other tonal shades. The presence of a sound is especially governed by its

attack phase.

Organ sounds too run the risk of sounding too dull and can often be lost in the battle for prominence in the

live instrument war. This can be avoided. The solution here is to add a harmonically rich component to your

basic sound.

EXPERIMENT:

We will explain how this is done with the aid of Performance TP116. Try gradually increasing the second Layer’s volume.

With this you are blending in a digital sound, whose sole purpose in life is to add a little transparency to your organ

sound. How much of this sound you add to the organ is really a matter of personal taste. It is worth listening to this partial

tone in isolation to better understand what’s going on.

A word about touch sensitivity: keep your sound’s touch sensitivity as low as possible. This way many

sounds cut through the mix better. A pad sound that you probably often play with your left hand shouldn’t

really respond to touch at all. Experience has shown that it is far more practical to control a pad sound’s vol-

ume with a volume pedal or fader. That way you have far better control of your sound’s level. Also don’t forget

to “compress” your touch sensitivity values when preparing Performances.

Another important step is to ensure that your sounds’ levels relative to each other

are OK, otherwise you will

have to constantly correct them during the performance. When setting the levels however, you should not

simply rely on the “Perf Level” value as a guide. Filter and effect settings will also indirectly affect the overall

volume of a Performance. Therefore, keep listening to each sound against the other – let your ears decide.

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Yamaha CS2x Guía para resolver problemas Pagina 45