Synthesizer Parameter Manual EN Introduction This manual explains the parameters and technical terms that are used for synthesizers incorporating the Yamaha AWM2 tone generators and the FM-X tone generators. You should use this manual together with the documentation unique to the product. Read the documentation first and use this parameter manual to learn more about parameters and terms that relate to Yamaha synthesizers.
Table Of Contents 1 Part Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1-1 1-2 1-3 2 Basic Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1-1-1 Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Synthesis Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1-2-1 Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-3 3 Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3-1 A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3-2 B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3-3 C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3-4 D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part Parameters 1 Part Parameters 1-1 Basic Terms 1-1-1 Definitions Part A Part is a musical instrument sound that is built into an Electronic Musical Instrument. There are three Part Types: Normal Parts (AWM2) Normal Parts (FM-X) Drum Parts Normal Part (AWM2) Normal Parts (AWM2) are mainly pitched musical instrument-type sounds such as Piano, Organ, Guitar, and Synthesizer. You can play over the range of the keyboard at the standard pitch for each key.
Part Parameters Algorithm The combination of a number of Operators is called an “Algorithm.” When the waveform output from the Operator is a simple sine wave, no harmonics are included other than the fundamental tone. However, you can create harmonics by modulating the waveform with other Operators. How harmonics can be created depends on the Modulators’ output levels and the frequency rates of Carriers and Modulators.
Part Parameters Part Edit A function that lets you create your own Parts. Use Part Edit to adjust or apply Part Parameters to a Part. For Normal Parts (AWM2): Use Element Common Edit to edit the settings that are common to all Elements; Use Element Edit to edit the settings for each Element separately. For Normal Parts (FM-X): Use Operator Common Edit to edit the settings that are common to all Operators; Operator Edit to edit the settings for each Operator separately.
Part Parameters 1-2 Synthesis Parameters 1-2-1 Oscillator An Oscillator is one unit of the tone generator block of the Electronic Musical Instrument to control the waveform and Operators. Key On Delay Tempo Sync Determines if the Key On Delay (the time delay between when a key is pressed and the corresponding sound is actually played) is synchronized to the tempo of the Arpeggio or phrase. Key On Delay Note Length Determines the timing of the Key On Delay when the Delay Tempo Sync is set to On.
Part Parameters XA Control Determines the functioning of the Expanded Articulation (XA) feature of an Element. The XA feature is sophisticated tone generator system that allows you to more effectively recreate realistic sound and natural performance techniques. It also provides other unique modes for random and alternate sound changes as you play. For each Element, you can set to: Normal: The Element sounds normally each time you play the note.
Part Parameters Receive Note Off (for Drum Parts) Determines whether a Drum Key responds to the MIDI Note Off message or not. On: Stops the sound when you release the key (Drum Key). For sustained, non-fading drum sounds. Off: Continues the (fading) sound when you release the key (Drum Key). Alternate Group (for Drum Parts) Prevents playback of unnatural combinations of Drum Keys.
Part Parameters 1-2-2 Pitch The processing unit controls the pitch of the wave output from the Oscillator on the tone generator block of the Electronic Musical Instrument. You can detune separate Elements/Operators, apply Pitch Scaling and so on. Also, by setting the Pitch Envelope Generator (Pitch EG), you can control how the pitch changes over time. Coarse Tune Determines the pitch of each Element/Operator/Drum Key. Fine Tune Fine-tunes the pitch of each Element/Operator/Drum Key.
Part Parameters Pitch Key Follow Sensitivity Center Key Determines the central note or pitch for Pitch Key Follow Sensitivity. The note number set here is the same pitch as normal regardless of the Pitch Key Follow Sensitivity setting. E D F G + – A B C Figure 3: Pitch Key Follow Sensitivity and Center Key A: B: C: D: E: F: G: Lower range Center Key Higher range Amount of pitch change When Pitch Key Follow Sensitivity = +100% Large Small This parameter for the Normal Part (FM-X) is fixed to C3.
Part Parameters 1-2-3 Pitch EG (Pitch Envelope Generator) This lets you control the transition in pitch from the moment the sound starts to the moment the sound stops. You can create the Pitch EG by setting parameters as illustrated below. When you press a key on the keyboard, the pitch of the Part will change according to these Pitch EG settings. This is useful for creating automatic changes in pitch, which is effective for Synth Brass sounds.
Part Parameters D: E: F: G: H: I: J: K: L: M: Pitch Attack Time Decay 1 Time Decay 2 Time Release Time Initial Level Attack Level Decay 1 Level Decay 2 Level Release Level PEG Hold Time Determines the time between the moment you press a key on the keyboard and the moment the envelope starts to rise. PEG Attack Time Determines the speed of attack from the initial pitch (Hold Level) to the normal pitch of the Part after the Hold Time has elapsed.
Part Parameters PEG Depth Velocity Sensitivity Determines how the pitch range of the Element responds to Velocity. Positive values: High Velocities cause the pitch range to expand (Figure 6) and low Velocities cause it to contract (Figure 7). Negative values (only for Normal Parts (AWM2)): High Velocities cause the pitch range to contract and low Velocities cause it to expand. 0: The pitch envelope does not change, regardless of the Velocity.
Part Parameters PEG Time Velocity Sensitivity (only for Normal Parts (AWM2)) Determines how the PEG transition time (speed) responds to Velocity, or to the strength with which the key is pressed. Positive values: High Velocities result in a fast PEG transition speed (Figure 9) while low Velocities result in a slow speed (Figure 10). Negative values: High Velocities result in a slow PEG transition speed while low Velocities result in a fast speed.
Part Parameters PEG Time Key Follow Sensitivity Center Key (only for Normal Parts (AWM2)) Determines the central note or pitch for the PEG Time Key Follow Sensitivity. When the Center Key note is played, the PEG behaves according to its actual settings.
Part Parameters 1-2-4 Filter Type LPF (Low-Pass Filter) This is a Filter Type that only passes signals below the Cutoff Frequency. The sound can be brightened by raising the Cutoff Frequency of the filter. On the other hand, the sound can be darkened (muffled) by lowering the Cutoff Frequency of the filter. You can produce a distinctive “peaky” sound by raising the Resonance to boost the signal level in the area of the Cutoff Frequency.
Part Parameters LPF24A A digital dynamic Low-Pass Filter with characteristics similar to a 4-pole analog synthesizer filter. LPF18 3-pole -18 dB/oct Low-Pass Filter. LPF18s 3-pole -18 dB/oct Low-Pass Filter. This filter has a smoother cutoff slope than the LPF18 type. HPF (High-Pass Filter) A Filter Type that only passes signals above the Cutoff Frequency. You can use the Resonance parameter to add further character to the sound.
Part Parameters BPF (Band-Pass Filter) A Filter Type that only passes a band of signals around the Cutoff Frequency. Y C X A B Figure 16: Band-Pass Filter A: B: C: X: Y: BPF12D Center Frequency Cutoff Range Frequencies that are “passed” by the filter Frequency Level The combination of a -12 dB/oct HPF and LPF with a characteristic digital sound.
Part Parameters BPF6 The combination of a -6 dB/oct HPF and LPF. A Y B B D X C Figure 18: BPF6 A: B: C: D: X: Y: BPFw Resonance Cutoff Range Frequencies that are “passed” by the filter -6 dB/oct Frequency Level A -12 dB/oct BPF that combines HPF and LPF filters to allow wider bandwidth settings.
Part Parameters BEF (Band-Eliminate Filter) The Band-Eliminate Filter has an opposite effect on the sound compared to the Band-Pass Filter. When this Filter Type is selected, you can set the Cutoff Frequency around which the audio signal is muted or eliminated. Y B A C X Figure 20: Band-Eliminate Filter A: B: C: X: Y: Center Frequency Cutoff Range Frequencies that are “passed” by the filter Frequency Level BEF12 -12 dB/oct Band-Eliminate Filter. BEF6 -6 dB/oct Band-Eliminate Filter.
Part Parameters Dual BEF Two -6 dB/oct Band-Eliminate Filters connected in serial. Y A X B Figure 22: Dual Band-Eliminate Filters A: B: X: Y: Distance Lower Cutoff Frequency (Once you set the Lower Cutoff Frequency, the Higher Cutoff Frequency will be automatically set.) Frequency Level LPF12+HPF12 A combination of a -12 dB/oct Low-Pass Filter and a -12 dB/oct High-Pass Filter connected in serial. When this Filter Type is selected, HPF Cutoff and HPF Key Follow Sensitivity can be set.
Part Parameters 1-2-5 Filter A filter is a circuit or processor that modifies tone by blocking or passing a specific frequency range of the sound. Filters work by allowing portions of the signal lower or higher than a specified frequency to pass, and cutting the remainder of the signal. This specified frequency is referred to as the Cutoff Frequency. You can produce a relatively brighter or darker sound depending on how you set the Cutoff Frequency.
Part Parameters Cutoff Key Follow Sensitivity Determines the degree to which the notes (specifically, their position or Octave Range) affect the Cutoff Frequency of the Filter. Positive values: The Cutoff Frequency drops for lower notes and rises for higher notes. Negative values: The Cutoff Frequency rises for lower notes and drops for higher notes. Cutoff Key Follow Sensitivity Center Key This indicates that the central note for Cutoff Key Follow Sensitivity is C3. The setting value is fixed.
Part Parameters 1-2-6 Filter EG (Filter Envelope Generator) This lets you control the transition in tone from the moment the sound starts to the moment the sound stops. You can create a custom Filter EG by setting parameters as illustrated below. When you press a key on the keyboard, the Cutoff Frequency will change according to these EG settings.
Part Parameters FEG Decay 1 Level Determines the level which the Cutoff Frequency reaches from the Attack Level after the Decay 1 Time elapses. FEG Decay 2 Level Determines the Cutoff Frequency which will be maintained while a note is held. FEG Release Level Determines the final Cutoff Frequency reached after the note is released. FEG Time Key Follow Sensitivity Determines the degree to which the notes (specifically, their position or Octave Range) affect the Cutoff Frequency of the FEG.
Part Parameters FEG Time Velocity Sensitivity Determines how the FEG transition time (speed) responds to Velocity, or the strength with which the key is pressed. Positive values: High Velocities result in a fast FEG transition speed (Figure 27) while low Velocities result in a slow speed (Figure 28). Negative values: High Velocities result in a slow FEG transition speed while low Velocities result in a fast speed. 0: The pitch transition speed does not change, regardless of the Velocity.
Part Parameters FEG Depth Velocity Sensitivity Determines how the range of the Cutoff Frequency responds to Velocity. Positive values: High Velocities cause the FEG range to expand (Figure 29) and low Velocities cause it to contract (Figure 30). Negative values: High Velocities cause the FEG range to contract and low Velocities cause it to expand. 0: The FEG range does not change, regardless of the Velocity.
Part Parameters 1-2-7 Filter Scale This controls the Filter Cutoff Frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard into different areas by setting four Break Points, and assign different Cutoff Frequency Offset values to these Break Points. The Cutoff Frequency changes in a linear fashion between successive Break Points.
Part Parameters 1-2-8 Amplitude The Amplitude unit controls the output level (amplitude or volume) of the Element/Operator/ Drum Key. The signals are sent at this output level to the Effect block (see Chapter 2 Effects). By setting the Amplitude Envelope Generator (AEG), you can control how the Amplitude changes over time. Level Determines the output level of the Element/Operator/Drum Key. Level Velocity Sensitivity Determines how the output level of the Element/Operator/Drum Key responds to Velocity.
Part Parameters Y 127 A B C 0 64 127 X Figure 35: Level Velocity Sensitivity Offset = 96 A: B: C: X: Y: Level Velocity Sensitivity = 0 Level Velocity Sensitivity = 32 Level Velocity Sensitivity = 64 Velocity with which you play a note Actual resulting velocity (affecting the tone generator) Level Velocity Sensitivity Determines how the actual Velocity will be generated according to the Curve Velocity (strength) with which you play notes on the keyboard.
Part Parameters Scaling Pan Determines the degree to which the notes (specifically, their position or Octave Range) affect the Pan position, left and right. At note C3, the main Pan setting is used for the basic Pan position. Positive values: Moves the pan position to the left for lower notes and to the right for higher notes. Negative values: Moves the pan position to the right for lower notes and to the left for higher notes.
Part Parameters 1-2-9 Amplitude EG (Amplitude Envelope Generator) This lets you control the transition in Amplitude from the moment the sound starts until the moment the sound stops. You can create a custom Amplitude EG by setting parameters as illustrated below. When you press a key on the keyboard, the volume will change according to these EG settings.
Part Parameters C: D: E: F: G: H: I: J: K: L: M: Time Level (volume) Hold Time Attack Time Decay 1 Time Decay 2 Time Release Time Attack Level Decay 1 Level Decay 2 Level Release (Hold) Level AEG Attack Time Determines how quickly the sound reaches its maximum level after the key is pressed. AEG Decay 1 Time Determines how fast the envelope falls from the Attack Level to the Decay 1 Level.
Part Parameters AEG Time Key Follow Sensitivity Center Key Determines the central note for AEG Time Key Follow Sensitivity. When the Center Key note is played, the AEG behaves according to its actual settings.
Part Parameters AEG Time Velocity Sensitivity Determines how the AEG transition time (speed) responds to Velocity, or the strength with which the key is pressed. Positive values: High Velocities result in a fast AEG transition speed (Figure 41) while low Velocities result in a slow speed (Figure 42). Negative values: High Velocities result in a slow AEG transition speed while low Velocities result in a fast speed. 0: The amplitude transition speed does not change, regardless of the Velocity.
Part Parameters 1-2-10 Amplitude Scale This controls the Amplitude output level according to the positions of the notes on the keyboard. For Normal Parts (AWM2) and Drum Parts You can divide the entire keyboard into different areas by setting four Break Points, and assign different Amplitude Offset values to these Break Points. The Amplitude changes in a linear fashion between successive Break Points.
Part Parameters For Normal Parts (FM-X) The keyboard is divided into two sections at the break point. The high-pitch side at the right is set by using the R Depth and the R Curve; the low-pitch side at the left is set by using the L Depth and the L Curve as described below.
Part Parameters 1-2-11 LFO (Low-Frequency Oscillator) The Low-Frequency Oscillator (LFO) unit of the tone generator block generates a lowfrequency signal. The signal from the LFO can be used to modulate the pitch, filter, and amplitude. Modulating the pitch produces a vibrato effect, modulating the filter produces a wah effect, and modulating the amplitude produces a tremolo effect. You can set the Common LFO, which determines the basic LFO parameters that are common to all Elements/Operators of the Part.
Part Parameters 1st-on: The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter. If you play a second note while the first is being held, the LFO continues cycling according to the same phase as triggered by the first note--in other words, the LFO only resets if the first note is released before the second is played.
Part Parameters Fade-In Time Determines the amount of time for the LFO effect to fade in after the Delay time has elapsed. A higher value results in a slower fade-in. 0: The LFO effect will not fade in but reach the maximum level immediately after the Delay time has elapsed.
Part Parameters Tempo Speed Hold (Hold/Hold Time) This parameter allows you to make detailed note value settings that determine how the LFO pulses in sync with the phrase. This parameter is only available when the Tempo Sync parameter has been set to On. Determines the time during which the LFO is held at its maximum level. A higher value results in a longer Hold Time. Hold: No fade-out.
Part Parameters Fade-Out Time Determines the amount of time for the LFO effect to fade out (after the Hold Time has elapsed). A higher value results in a slower fade-out. C D B X A Figure 51: Lower value: faster fade-out C B D X A Figure 52: Higher value: slower fade-out A: B: C: D: X: Loop Key On Maximum Hold Fade-Out Time Determines whether the LFO cycles repeatedly (loop) or only once (one shot).
Part Parameters Phase Determines the starting phase point for the LFO Wave when it is reset. Y X 0 A 90 180 270 240 120 Figure 53: Phases of a wave A: X: Y: LFO Phase Offset Phase Time Level Determines the offset values of the Phase parameter for the respective Elements. Y X 0 A 90 180 270 240 120 Figure 54: Phases of a wave A: X: Y: Phase Time Level Control Destination Determines the parameters which are to be controlled (modulated) by the LFO Wave.
Part Parameters 1-3 Operational Parameters 1-3-1 General Audition Phrase Number Selects the Audition Phrase. The Preset programs provide several types of Audition Phrases. Audition Phrase Note Shift Determines the transpose setting for the amount (in semitones) by which the pitch of the Audition Phrase is raised or lowered. Audition Phrase Velocity Adjusts the Velocity of the Audition Phrase between -63 and +63.
Part Parameters Arp Play Only Determines whether or not the Part whose Arpeggio is set to On is played. If this parameter is set to On, the Part is played with Arpeggio. If set to Off, the Part makes no sound. Element Pan Switch Switches an Element Pan selected by Element Edit ([EDIT] → Part Selection → Element Selection → [Amplitude]→ [Level/Pan]) On or Off. When set to “off,” the Pan setting by Element Edit is set as the center position for the Pan.
Part Parameters 1-3-4 Micro Tuning List Equal Temperament The pitch range of each octave is divided equally into twelve parts, with each halfstep evenly spaced in pitch. This is the most commonly used tuning in music today. Pure Major, Pure Minor These tunings preserve the pure mathematical intervals of each scale, especially for triad chords (root, third, fifth). You can hear this best in actual vocal harmonies — such as choirs and a cappella singing.
Part Parameters 1-3-5 Arpeggio This function lets you automatically trigger musical and rhythmic phrases and backing patterns using the current Performance by simply pressing a key or keys on the keyboard. The Arpeggio sequence changes in response to the actual notes or chords you play, giving you a wide variety of inspiring musical phrases and ideas, both in composing and performing. Arpeggio Master Switch Determines whether Arpeggio for the entire Performance is On or Off.
Part Parameters Arpeggio Velocity Limit Determines the lowest and highest Velocity that can trigger Arpeggio playback. This lets you set the Velocity range with which you press the key to trigger Arpeggio playback. You can also create separate low and high trigger ranges for the Arpeggio playback, with a Velocity “hole” in the middle, by specifying the maximum value first.
Part Parameters Swing Delays notes on even-numbered beats (backbeats) to produce a swing feel. +1 and higher: Delay the Arpeggio notes. -1 and lower: Advance the Arpeggio notes. 0: Exact timing as set by Quantize Value, resulting in no swing. Judicious use of this setting lets you create swing rhythms and triplet feels, such as shuffle and bounce. Output Octave Shift Shifts the pitch of the Arpeggio up or down in octaves. Octave Range Specifies the maximum Arpeggio range in octaves.
Part Parameters 1-3-6 Accent Start Quantize Determines the start timing of the Accent Phrase when the Velocity higher than the specified threshold in Accent Velocity Threshold is received. Off: The Accent Phrase starts as soon as the Velocity is received. On: The Accent Phrase starts on the beat specified for each Arpeggio type after the Velocity is received.
Part Parameters Smoothness Determines the smoothness of the time change of the Sequence. There are three parameters available for different ranges (below). Common Motion Seq Smoothness: Offsets the Smoothness of the Lane in the Performance when “MS FX” for the Lane is set on On. Part Motion Seq Smoothness: Offsets the Smoothness of the Lane in the Part when “MS FX” for the Lane is set on On. Motion Seq Smoothness: Determines the Smoothness of each Sequence.
Part Parameters 1-3-7 Lane Velocity Limit Determines the minimum and maximum Velocity values in which the Motion Sequence responds. The Motion Sequence will only be available for notes played between its specified Velocity Limits. In addition to this, if you first specify the maximum value then the minimum value which is actually higher than the maximum value, you can create two Velocity Limits to playback the Motion Sequence.
Part Parameters Curve Type Determines the Curve type of the parameter which is set as the Destination.
Part Parameters Smooth Saw: Triangle: Square: Trapezoid: Tilt Sine: Bounce: Resonance: Sequence: Hold: 55
Part Parameters Curve Polarity Determines the Curve Polarity of the selected Curve type. uni (unipolar): Unipolar changes only in a positive direction or in a negative direction from a base parameter value according to the Curve shape. bi (bipolar): Bipolar changes in both of positive and negative directions from a base parameter value. 1-3-8 Curve Ratio Determines the Curve ratio. Curve Parameter Adjusts the Curve shape. The number of Curve Parameters will change according to the Curve type.
Part Parameters Insertion Connection Type Lets you set the effect routing for Insertion Effects A and B. Parallel (for Normal Parts (AWM2) and Drum Parts): Signals processed with the Insertion Effect A and B blocks are sent to the Master Effect, Master EQ, Reverb, Variation, and Envelope Follower blocks.
Part Parameters 1-3-9 EQ (Equalizer) In general, an equalizer (EQ) is used to correct the sound output from amplifiers or speakers to match the special character of the room, or to change the tonal character of the sound. The sound is divided into several frequency bands, and adjustments are made to the sound by raising or lowering the level of each band.
Part Parameters 1-3-10 Envelope Follower Envelope Follower is a function for detecting the envelope of the input signal waveform and modifying sounds dynamically. Envelope Follower Gain Determines the output gain of the Envelope Follower. Envelope Follower Attack Determines the attack time of the Envelope Follower. Envelope Follower Release Determines the release time of the Envelope Follower.
Effects 2 Effects 2-1 Basic Terms 2-1-1 Definitions VCM (Virtual Circuitry Modelling) VCM is a technology that authentically models the elements in analog circuitry (such as resistors and capacitors). Effect types using the VCM technology produce the uniquely warm characteristics of vintage processing gear. REV-X REV-X is a Reverb algorithm developed by Yamaha.
Effects 2-2-2 Delay An effect (or device) that delays an audio signal for ambient or rhythmic effects. CROSS DELAY The feedback of the two delayed sounds is crossed. TEMPO CROSS DELAY Tempo-synchronized Cross delay. TEMPO DELAY MONO Tempo-synchronized Mono delay. TEMPO DELAY STEREO Tempo-synchronized Stereo delay. CONTROL DELAY Delay with delay time that is controllable in real time. DELAY LCR Produces three delayed sounds: L, R and C (center).
Effects 2-2-5 Phaser Cyclically modulates the phase to add modulation to the sound. 2-2-6 VCM PHASER MONO This effect emulates the characteristics of analog phasers used in the 1970s, recreating a warm, high-quality phaser effect. This is a mono phaser with VCM technology for producing a vintage sound. VCM PHASER STEREO This effect emulates the characteristics of analog phasers used in the 1970s, recreating a warm, high-quality phaser effect.
Effects 2-2-8 Compressor Compressor is an effect commonly used to limit and compress the dynamics (softness/ loudness) of an audio signal. When used with Gain to boost the overall level, this creates a more powerful, more consistently high-level sound. Compression can be used to increase sustain for electric guitar, smooth out the volume of a vocal, or bring a Drum Kit or rhythm pattern further up-front in the mix.
Effects UNI COMP UP Compressor using “upward” algorithm for making quiet sounds louder. B Y A C X Figure 60: Uni Comp Up A: B: C: X: Y: PARALLEL COMP 2-2-9 Threshold Ratio Gain Limit Input Output Compressor applying parallel processing of the compressed sounds and dry sounds. Wah This Effect cyclically modulates the tone brightness (Cutoff Frequency of a filter). Auto Wah modulates the tone via LFO, Touch Wah modulates the tone via volume and Pedal Wah modulates the tone by pedal control.
Effects 2-2-11 Tech This Effect changes the tonal characteristics radically by using filtering and modulation. RING MODULATOR An effect that modifies the pitch by applying Amplitude Modulation to the frequency of the input. DYNAMIC RING MODULATOR Dynamically controlled Ring Modulator. DYNAMIC FILTER Dynamically controlled filter. AUTO SYNTH Processes the input signal into a synthesizer-type sound. ISOLATOR Controls the level of a specified frequency band of the input signal.
Effects 2-2-12 Misc This category includes the other effect types. VCM EQ 501 This effect emulates the characteristics of analog equalizers used in the 1970s, recreating warm, high-quality equalization. PITCH CHANGE Changes the pitch of the input signal. EARLY REFLECTION This effect isolates only the early reflection components of the Reverb. HARMONIC ENHANCER Layers additional harmonics to the input signal to make the sound stand out.
Effects 2-3 Effect Parameters 2-3-1 A 2-3-2 AEG Phase Offsets the phase of the Amplitude EG. AM Depth Determines the depth of Amplitude Modulation. AM Inverse R Determines the phase of the Amplitude Modulation for the R channel. AM Speed Determines the Amplitude Modulation speed. AM Wave Selects the wave for modulating the Amplitude. AMP Type Selects the amplifier type to be simulated. Analog Feel Adds the characteristics of an analog flanger to the sound.
Effects 2-3-3 C Chorus Selects the Chorus type. Click Density Determines the frequency at which the click sounds. Click Level Determines the click level. Clipper Determines the extent to which the Clipper is applied for forcibly reducing the gain. Clipper Source Determines the signal to which the Clipper effect is applied for forcibly reducing the gain. Color Determines the fixed phase modulation. The Color parameter may not be effective depending on the values of the Mode and Stage parameters.
Effects 2-3-4 D Damper Control When the half-damper compatible FC3 footswitch is connected to the instrument, the Damper Control parameter is controlled by the FC3, allowing for partial damper effects. Decay Controls how the Reverb sound decays. Delay Control Determines the depth/amount of the effect type selected by Delay SW. Delay Input Level Determines the delay input level. Delay Level Determines the level of the delayed sound.
Effects 2-3-5 Dist Presence Determines each distortion type setting. Dist SW Switches the distortion types. Dist Tone Adjusts the distortion tone level. Dist Type Determines the distortion type. Divide Freq High Determines the high frequency for dividing the entire sound into three bands. Divide Freq Low Determines the low frequency for dividing the entire sound into three bands. Divide Min Level Determines the minimum level of the portions extracted via the Slice effect.
Effects 2-3-6 EQ Mid Frequency Determines the center frequency of the middle EQ band that is attenuated/ boosted. EQ Mid Gain Determines the amount of boost or attenuation applied to the middle EQ band. EQ Mid Width Determines the width of the middle EQ band. EQ Width Determines the width of the EQ band. EQ1(LSH) Frequency Determines the center frequency of the EQ1 (Low Shelving). EQ1(LSH) Gain Determines the level gain of the EQ1 (Low Shelving) center frequency.
Effects 2-3-7 2-3-8 Feedback Level 1, 2 Determines the feedback level of the delayed sound in each of the first series and second series. Feedback Time Determines the delay time of the feedback. Feedback Time L, R Determines the time of the feedback delay L and R. Filter Output Level Determines the output level of the Filter. Filter Type Determines a specific value, depending on the selected setting. For Lo-Fi, this parameter selects the tonal characteristic type.
Effects High Subband Gain Lch, Determines the gain level of the high frequencies for the stereo sound (R Rch and L channels). 2-3-9 High Threshold Determines the minimum input level at which the effect is applied to the high frequencies. High Treble Determines the gain of the high frequencies which is higher than the treble setting. Horn Fast Determines the frequency of the horn (higher range) when the Speed Control is set to Fast.
Effects 2-3-11 L L/R Depth Determines the depth of the L/R pan effect. L/R Diffusion Determines the spread of the sound. Lag Determines the lag time that is additionally applied to the delayed sound specified via a note length. Length Determines the amount of time for repeating. Length Change Quantize Quantizes the timing for changing the length parameter. LFO Depth Determines a specific value, depending on the selected Effect type.
Effects Lower Range [VCM Auto Wah, VCM Touch Wah, VCM Pedal Wah] Determines the minimum value of the wah filter. The Bottom parameter is available only when the value is less than that of the Top parameter. [Control Flanger] Determines the minimum value of Flange Control. [Control Phaser] Determines the minimum value of Phase Control. [Control Filter] Determines the minimum value of Cutoff Frequency Control. LPF Cutoff Frequency Determines the Cutoff Frequency of the Low-Pass Filter.
Effects Mid3 Subband Gain Lch, Determines the gain level of the Mid3 frequencies for the stereo sound (R Rch and L channels). Mod Depth Determines the depth of the modulation. Mod Depth Offset R Determines the depth of the modulation for R channel as offset. Mod Feedback Determines the feedback level to the modulation. Mod Gain Determines the gain of the modulation. Mod LPF Cutoff Frequency Determines the Cutoff Frequency of the Low-Pass Filter applied to the modulated sound.
Effects 2-3-14 O Offset Determines the starting pitch in semitones. Ofs Transition Determines the time that elapses after the Offset value changes. On/Off Switch For the Isolator, turns the isolator on or off. For the Stereophonic Optimizer, turns the effect on or off. OSC Frequency Coarse Determines the frequency at which the sine wave modulates the amplitude of the input wave. OSC Frequency Fine Fine-tunes the frequency at which the sine wave modulates the amplitude of the input wave.
Effects Pre Mod HPF Cutoff Frequency Determines the Cutoff Frequency of the High-Pass Filter before modulation is applied. Pre-LPF Cutoff Frequency Determines the Cutoff Frequency of the Low-Pass Filter before modulation is applied. Pre-LPF Resonance Determines the Resonance of the Low-Pass Filter for the input sound. Presence For Amp Simulator effects this parameter controls high frequencies. For Presence, this parameter determines the extent to which the effect is applied.
Effects Rotor Speed Fast Determines the speed of the rotor when the slow/fast switch is set to Fast. Rotor Speed Slow Determines the speed of the rotor when the slow/fast switch is set to Slow. Rotor/Horn Balance Determines the volume balance of the horn and rotor. Rtr Fast/Slow Determines how long it takes for the rotation speed of the rotor (lower range) to change from Fast to Slow when the rotation speed is switched.
Effects Speaker Type For Amp Simulator 1 and Comp Distortion Delay, this parameter selects the type of speaker simulation. For US Combo, Jazz Combo, US High Gain, British Lead, Small Stereo, British Combo, British Legend, and Multi FX, this parameter selects the speaker type. Speed Determines a specific value, depending on the selected Effect type. For VCM Flanger, this parameter determines the frequency of the LFO wave which controls the cyclic change of the delay modulation.
Effects 2-3-19 U Upper Range For VCM Auto Wah, VCM Touch Wah, and VCM Pedal Wah, this parameter determines the maximum value of the wah filter. For Control Flanger, this parameter determines the maximum value of the Flange Control. For Control Phaser, this parameter determines the maximum value of the Phase Control. 2-3-20 V Vib Speed Determines the speed of the vibrato. This parameter is active when Chorus is set to “Vib.” Vocoder Attack Determines the Attack Time of the Vocoder sound.
MIDI 3 MIDI 3-1 Overview 3-1-1 About MIDI MIDI (Musical Instrument Digital Interface) is a standard that allows electronic musical instruments to communicate with each other, by sending and receiving compatible types of MIDI data or messages. The types of MIDI data include Note, Control Change, Program Change and various other types. This synthesizer can control other MIDI devices by transmitting note-related data and various types of controller data.
MIDI A B C Figure 62: MIDI Cable A: MIDI Transmit channel 2 B: MIDI cable C: MIDI Receive channel 2 3-1-3 MIDI ports The above-mentioned sixteen-channel limit can be overcome by using separate MIDI “ports,” each supporting sixteen channels. While a single MIDI cable is equipped to handle data over up to sixteen channels simultaneously, a USB connection is capable of handling far more, thanks to the use of MIDI ports.
MIDI 3-2 Channel Messages 3-2-1 Note On/Off Messages which are generated when the keyboard is played: Note On: Generated when a key is pressed. Note Off: Generated when a key is released. Each message includes a specific note number, which corresponds to the key that is pressed, plus a Velocity value based on how hard the key is struck.
MIDI Portamento Time (Control #5) Messages that control the duration of portamento, or a continuous pitch glide between successively played notes. 127: Maximum portamento time. 0: Minimum portamento time. When the parameter Portamento Switch (Control #65) is set to On, the value set here can adjust the speed of the pitch change. Data Entry MSB (Control #6) and Data Entry LSB (Control #38) These parameters specify the value of RPN MSB and RPN LSB events.
MIDI Harmonic Content (Control #71) Messages that adjust the filter Resonance set for each part. The value set here is an offset value which will be added to or subtracted from the Part data. Release Time (Control #72) Messages that adjust the Amplitude EG Release Time set for each part. This is an offset that is added to or subtracted from the Part data. Attack Time (Control #73) Messages that adjust the Amplitude EG Attack Time set for each part.
MIDI Table 3: RPN Parameter List RPN 3-2-5 MSB LSB 000 000 000 Parameter Name Data Entry (Range) Function MSB LSB Pitch Bend Sensitivity 0 - 24 - Specifies the amount of pitch bend produced in response to pitch bend data in semitone increments. 001 Fine Tune 0 - 127 0 - 127 Adjusts the tuning in 100/8192 cent increments. The setting values are between -8192 and +8191 based on the formula “MSB x 128 + LSB.
MIDI 3-2-6 Channel After Touch Messages that let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. 3-2-7 Polyphonic After Touch Messages that let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key.
MIDI 3-3 System Messages 3-3-1 System Exclusive Messages Changes internal tone generator settings such as Part and effect settings, remote switch control, tone generator mode switching, and others via MIDI. The Device Number of the synthesizer must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other System Exclusive Messages.
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