Yamaha CS-60, JOGR JOGRR CS50 Owner's Manual

SECTION III — DESCRIPTION OF PROGRAM LE
PANEL, MEMORY, HOW TO PROGRAM &
SUGGESTED PATCHES
This section details the function of the synthesizer's
programmable PANEL [15-36], and how to program
your own patches, creating sounds literally “from
scratch.” Also discussed is the CS-60 MEMORY panel
[37] —a miniaturized version of the larger program:
mable panel, used for storing one of your own pro-
grammed patches for instant recall at the touch of a
button.
What the Panel Controls Do
The PANEL lets you select the waveform, harmonic
structure, changes in harmonics, and volume changes to
program an infinite variety of sounds. The same circuits
controlled by the PANEL are internally controlled to
obtain the preset patches; each TONE SELECTOR
button simply recalls an internally-stored pattern of
PANEL settings. Thus, with the PANEL, it is possible
to manually duplicate any of the presets, to vary them
slightly, or to depart drastically for totally unique
sounds,
NOTE: To hear what effect the PANEL controls have
as you read this section, set all synthesizer controls at
their nominal positions (as indicated on the inside
cover photos), with one exception: SET THE
BRILLIANCE LEWER [5] AT minimum brightness
(up). Normally, BRILLIANCE is centered when pro-
gramming, but this setting is better for initial demon-
strations of filter effects.
(15-20 and 31] The VCO —
WAVEFORMS: The УСО, or Voltage Controlled
Oscillator section, creates the CS-80"'s four basic
sounds: SQUARE WAVE, SAWTOOTH WAVE,
WHITE NOISE, and SINE WAVE. Turn ON the square
wave п [18] and play а note. Turn OFF the square
wave and turn on the sawtooth wave ™ [19]. Turn
OFF the sawtooth, and bring up the NOISE slider [20].
Bring down the NOISE slider, and bring up the sine
wave * slider [31]. Observe the difference between
these sounds. (The sine wave slider, even though it is
part of the VCO electronics, is located in the VCA
section because pure sine waves have no harmonics,
and would therefore not be changed by VCF
processing.)
[17] PULSE WIDTH — The square wave [18] hada
particular sound that might be described as “hollow.”
However, you can vary the sound of the square wave
with the adjacent PW slider [17]. This slider affects
only the sound of the square wave: it has no effect on
the sawtooth, sine wave or noise.
With the square wave ОМ, play a note and very
gradually push the PW slider up to 90%. This changes
the Pulse Width of the square wave, which changes the
harmonics for amore “nasal” sound. Now move the
PW slider down to 50% again as you continue playing a
note.
Try moving the PW slider back and forth (50% to
90%}, doing it faster and faster as you play a note, and
observe the phasing-like sound. You can have the
synthesizer do the same thing for you automatically,
using the adjacent PWM [16] and SPEED [15] sliders.
[16] PWM (Green) € [15] SPEED (White) — PWM
stands for Pulse Width Modulation. Set the PW slider at
75%, and move the PWM slider [16] up to maximum
modulation (#10). Now play a note and you will hear
an effect that is identical to manually moving the PW
ЕЕ ее
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DNA ААА
I \S\I \/ NI \ sine Wave
slider back and forth all the way, but very slowly.
Gradually push the SPEED slider [15] from SLOW
toward FAST, and notice what happens; pulse width
modulation occurs faster and faster. Eventually, you
will reach a speed that is much faster than you could
possibly achieve by moving the PW lever back and forth
Square Wave
Sawtooth Wave
Mose
with your hand. At the point when the SPEED of modu-
lation approaches audio frequencies (20 times per
second or faster), a secondary tone will be heard.
You need not use maximum effect. With SPEED
at a SLOW setting, try moving the PWM slider to its
mid position. This effect is like moving the PW slider
only part way up, and then back down. You can also
vary the basic setting of the PW slider; try setting it at
mid position and then use different PWM and SPEED
settings. Together, the PW, РУЛИ and SPEED sliders are
one of the keys to achieving realistic string sounds,
As you have heard, the VCO produces different
basic timbres (tones), but it is equally important for it
to produce pitch. Therefore, when you play various
notes on the keyboard, the VCO produces different
pitches. The TRANSPOSITION pushbutton also affect
the VCO pitch, just as they did the preset patches.
Moving up and down fully.
ha he
Fi
Moving up and down part way.
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[18]
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Ribbon—(C5-60 only]
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Several “Controls” set the pitch of the wave you select on the VCO,
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[21-29] WCF — The Voltage Controlled Filter section
(WCF) lets some of the frequencies generated by the
УСО be heard and cuts out others; hence the term
filter. The action of the filter modifies the timbre (tone)
by altering the harmonic structure of the basic sounds.
All the sounds created by the VCO, except SINE
WAVE, are immediately processed by the VCF section.
Of the basic sounds available from the VCO, NOISE is
the richest in harmonics. White noise appears to be a
combination of all audio frequencies—all harmonics
and fundamentals—occuring in a continuous, random
pattern. Thus, noise makes an excellent sound with
which to demonstrate the effects of the VCF.
[21] LPF — (Green) Bring up to the NOISE slider
[20] to maximum (#10), and play any key. Gradually
move the LPF slider down (HIGH to LOW). The LPF
(Low Pass Filter) cuts the high frequencies and allows
lower frequencies to be heard: hence the term low pass
filter. Notice how the sound becomes more “dull” as
you move the slider down.
[23] HPF — (Green) Return the LPF slider to HIGH,
thus allowing all noise frequencies to get through the
VCF section. Now gradually move the HPF slider up
from LOW to HIGH. The HPF (High Pass Filter) cuts
the low frequencies (fundamental and lower harmonics)
and allows higher frequencies to be heard: hence the
term high pass filter. Notice how the sound becomes
“thin” as you move the slider up. This useful filter,
standard with Yamaha CS-series synthesizers, is seldom
included in other synthesizers.
Together, the HPF and LPF sliders create a band-
pass filter; that is, only frequencies above the HPF cut-
off and below the LPF cutoff are heard.
This lets you “focus” or emphasize a narrow
range of frequencies, perhaps only a few harmonics
without the fundamental, or a wide range of fre-
quencies, depending on how you set the HPF and LPF
sliders,
NOTE: Think of the APF and LPF sliders as a pair of
curtains that let you “see” the sound. Certain settings
of the sliders (the “curtains”) can “narrow” the band-
pass "window" to nothing—no frequencies can pass
through the filters. If you are adjusting these sliders
and the sound goes away, move HPF lower and/or LPF
higher to “open” the bandpass so sound can come
through. (See illustrations on next page.)
Bring down the NOISE slider, and turn on a saw-
tooth wave [19]. Starting with the HPF slider at LOW
and the LPF slider at HIGH, gradually move the LPF
Slider up and down. Then move the HPF slider up and
down. You are probably beginning to grasp how the
WCF'" two filters, HPF and LPF, affect the sound.
The HPF and LPF sliders each set one of two
basic filter characteristics, the cutoff frequency. The
other basic filter characteristic is RESONANCE. Rather
than explain resonance at this point, it is easier to
demonstrate the effect. (Further explanations of filter
characteristics are presented in Sections IV and Y of
this manual.)
[22 & 24] RES — (Red) High Pass Filter RESonance
is set with the RESH slider [22], and Low Pass Filter
RESonance is set with the RESL slider [24]. Move
both these sliders up to HIGH for maximum
resonance effect, and then gradually move the HPF
and LPF sliders back and forth, one at a time, while
playing a series of notes. Observe the “twang” or “wah”
provided by the resonance.
NOTE: There are additional sliders in the VCF section
[25-29], but it will be easier to demonstrate their
purpose if we first explain what the VCA section does,
Musical examples of filter action. Shaded areas are NOT audible M they are blocked by the filters. Edge of shaded areas 2 № cutoff point.
LER ‚ri Ei
HPF & LPF filters wide
open.
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Ser ^
po = = = A
PRES | SE
LS
q HPF Cutott LPF Cutotf ыыы
tu | Overtones [Harmonica]
Fundamental Note
Le
HPF wide open |
LPF partially closed
CT
НРЕ wide open
LPF completely closed
LPF completely closed
HPF partially closed
LPF wide open
A En e seule
cs == 7
ae
+» Upper overtones sre eliminated [less bright sotana).
o tale *
fa === —
м =?
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LPR |
HPF partially closed |
& Na sound gets though (no bandpass.
LS Lai Li
1. LA HS.
Hs E
Fl
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2 x
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++ Fundamental and lower overtones elimenated.
HPF completely closed
LPF wide open
LM PES:
HPF partially closed
LPF partially closed
ei En т. LE
HPF wide open with no
resonance
LPF partially closed with
maximum resonance
BE Gn ¡E „Ir
HFF partially elosed with
maximum resonance
LPF wide open with no
resonance
HPF partially closed with
maximum resonance
LPF partially closed with
maximum resonance
—
—
= No sound gets through.
Зее *
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= Narrow bandpass 2 Hect — Some harmonics only.
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LPF Hesonance
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> Resonance emphasizes the frequency af cuba.
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Narrow bandpass with resonance (mows BRILLIANCE [7] far a "wahwah”].
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19
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(30-36] VCA — The VCA, or Voltage Controlled
Amplifier, sets the volume (loudness) of the sound,
The reason for using a VCA rather than a volume con-
trol, however, is that it automatically changes the
volume when you play a note. This is a natural char-
acteristic of any instrument, and is therefore important
to the realism or effect of the sounds you program.
Consider the sound of a harpsichord, for example.
When you play a note, the strings are plucked, so
sound starts at maximum loudness (fast attack] and
then falls off (decays) fairly quickly. When you blow
into a trombone, the note slowly builds to maximum
loudness (slow attack) as the air passes through the
many feet of tubing: the sound remains at maximum 0 SHORT SHORT
loudness (high sustain level) as long as you have breath, A D
and then it dies somewhat more quickly than it began м УСА
as the vibrating column of air collapses (fast release
time}. These changes in loudness over a period of time
are unique for each different instrment and they are
known as the amplitude or volume envelope. The eke
VCA is used to create an amplitude envelope for what- aa a bo eee een:
ever sound you have generated with the VCO and
modified with the VCF,
[36] LEVEL — (Gray) Play a note, and move the VCA
LEVEL slider between #10 (maximum) and #0
(minimum). Notice that this is exactly the same as
adjusting the synthesizer's main VOLUME control [2].
[32-35] VCA ENVELOPE GENERATOR — We
explained that the VCA is an amplifier that automati-
cally changes the volume; the Envelope Generator (EG) pue
is the circuit that controls the VWCA' volume
(amplitude) when you play the keyboard. (No sound Volume Envelope
goes through the envelope generator itself.) The WCASs of above string
envelope generator happens to have four independently
adjustable characteristics: attack time, decay time, us
sustain level, and release time. These are set with the
Attack, Decay, Sustain and Release sliders (A-D-S-R].
[32] ATTACK — (Black) ATTACK TIME defines how
fast the УСА turns on to a maximum volume when you
first play a key.
[33] DECAY — (Black) DECAY TIME defines how
long it takes for the VCA to lower the volume as you
continue to hold down the key.
[34] SUSTAIN — (Black) SUSTAIN LEVEL defines
how loud the note remains while you continue holding
down the key.
[35] RELEASE — (Yellow) RELEASE TIME defines
how quickly the note dies out after you let go of the
key.
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Period During Vih=h | |
Key is Held Dawe Sl
VOLUME
a
TIRAE
More About VCA Envelopes
lt may be easier for some players to understand
the envelope in musical terms rather than with graphs
or charts. The illustration to the right demonstrates
how different settings of the VCAS A,D,S&R
levers affect the sound. Play these examples and
listen to the effect of each lever. The examples are
not intended to sound like any particular instruments.
NOTE: Upper line represents the notes played.
Lower line represents what you hear.
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What
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Play
What
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hear
What
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You
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What
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What
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[30] VCF LEVEL — (Gray) This slider determines how
much of the sound generated by the VCO then pro-
cessed by the VCF will be introduced to the VCA. #0 r Е
(down) shuts off all sound from the VCF, and #10 —|- —|- No pure sine wave;
(up) feeds maximum VCF output to the УСА. —|— —|— maximum sound from WER
enters the МСА.
[31] SINE WAVE — (Gray) This slider determines how
much of the pure, unfiltered sine wave generated by
the VCO will be introduced to the УСА. In fact, this
slider may be used together with the VCF LEVEL
slider to Mix pure sine wave with whatever sound is
coming from the VCF.
[25-29] VCF ENVELOPE GENERATOR — Volume 15 String about String just À marnan A few moment
not the only thing that can change when you play a sree Ta ea sr =
note; the tone may also change. When you pluck a
guitar string, for example, the sound starts out brilliant
and becomes more mellow as the note dies out. To
Mo sound from WCF:
pure sine Wave
enters the УСА.
Blend of sine wave
and sound fram VCF
enters the УСА.
4 F a
WO! PAL o WC! (DAL ar
Pluck
duplicate this effect, it is often desirable to change ae 5 |
both the filter characteristics and the volume with É
envelopes. 57 5
The VCF envelope is similar to the МСА envelope a £|2
(ADSR!, but it affects the tone rather than the = E =
volume. Also, instead of ADSR sliders, the VCF Ев
envelope has INITIAL LEVEL, ATTACK LEVEL,
ATTACK TIME, DECAY TIME and RELASE TIME Low =
sliders. NL-AL-A-D-R}. ime
In essence, the VCF envelope automatically moves
the HPF and LPF sliders each time you play a note,
thus changing the filter cutoff and the amount of
harmonics and/or fundamental frequency you hear.
The exact effect of this envelope depends entirely on
the actual settings of HPF and LPF, as well as RESH
and RESL. ae eer Pane Gee er — ou)
NOTE: To hear what the VCF envelope controls do as ЕЕ a | Ses + —|= = =|- ET: ЕЕ
you read the following descriptions, begin by setting поры — = EF эр = — = = = Ao 2
up the programming PANEL as illustrated to the right. 77 > а о =
Sd ni -A<z=>]> Fred AIT
Play a note with the controls as below. What you hear ts equivalent to this
[25] INITIAL LEVEL — (Black) With IL set at +0
(down) there is no effect. Moving IL up to —5 and then
playing a note causes the sound to start out “mellow'"
(more fundamental and less harmonics) and to then
move into the sound you have set with HPF and LPF
sliders. It is as though you began by moving the
HPF and LPF sliders a bit lower and then moved
them up together as you play the note until they When you first When you've been
reach the “steady” setting. hit the key hatching the bay
Attack time
[26] ATTACK LEVEL — (Black) With AL set at #0
(down) there is no effect. Moving AL up to +5 and then
playing a note causes the sound to get “thinner’’ (less
fundamental and more harmonics) and to then move
back to the sound you have set with the HPF and LPF
sliders. It is as though you moved the HPF and LPF
sliders up past the “steady” setting and then brought
them down together.
127] ATTACK TIME — (Black) The A slider adjusts
how long it takes for the filter envelope ta move from
the “fattest sound to the “thinnest” sound (these
points being set by the IL and/or AL sliders). SHORT
{slider down) causes a rapid move that sounds like a
“blip,” whereas LONG (slider up) causes a gradual
change in tone.
[28] DECAY TIME — (Black) The D slider adjusts
how long it takes for the filter envelope to move from
the “thinnest” sound to the “steady” sound set with
the HPF and LPF sliders.
[29] RELEASE TIME — (Yellow) The R slider
adjusts how long it takes for the filter to return to
the IL setting after you let go of the key or keys. If
the IL slider is set at +0 (down), then R sets how long
it takes for the filter to return to the “steady” setting
after you release the key. If IL and AL are both at #0,
then R has no effect.
By experimenting with the VCF envelope, you
will find that many useful effects can be achieved,
including whistle and rushing wind, Brass sounds are
greatly enhanced by the use of IL and AL with moder-
ate attack and decay times. To get a very sharp “blip”
for extremely percussive sounds, set AL up to +5 and
set attack and decay at the shortest time (down). You
will also find that the VCF envelope and VCA envelope
can be manipulated together to get still more variations
in effect.
«
Like starting with HPF & LPF higher
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Equivalent to AL
First hit key
and then moving down
Filter almost closed ..
very little sound
Equivalent to AL
First hit key After attack
Equivalent to IL
Bi: Lt ms
Min Li
No sound A lot of sound
Let go of key
just before decay
begıns
steady HPF LPF
Decay
time =
After decay
(holding key!
Equivalent to IL
Release
time
No sound
mia uri MES:
23
24
The musical examples provide an alternative to
the preceding charts for understanding the VCF
envelope. (Switch on the МСО“; sawtooth wave and
pull down the NOISE when playing the examples.)
i
NOTE: In these illustrations, hairpins represent
changes in filter response, not level. The МСА
envelope settings are shown below the VCF
settings to save space.
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[37] MEMORY (CS-60 ONLY) — The memory is
beneath a hinged cover which bears a simplified block
diagram of the CS-60's programming functions. (Block
diagrams of the entire synthesizer and simplified block
diagrams showing only the programmable panels of both
the С5-50 and CS-60 are discussed in Section VW),
The Memory is a miniaturized version of pro-
grammable panel, minus the detailed labeling. Once
vou develop a patch you want to save, you can trans:
fer the settings to memory by visually lining up the
memory’s sliders and switches as closely as possible to
those on the Panel, “Fine tuning” the memory patch
against the panel-programmed patch can be accom-
plished by alternately pressing the MEMORY and
PANEL TONE SELECTOR pushbuttons [3].
25
26
HOW TO USE PROGRAMMING
TO GET ASOUND
If you've read the previous section and experimented
with the PANEL controls, you probably understand
what they do, but how do you go about programming
a specific sound you want to hear?
There are many approaches to getting a sound, and
the one we suggest here is no better or worse than
others; if another technique works for you, use it.
Before you attempt to program a given sound, turn off
all effects not on the Programmable panel. , ‚that is,
begin with the nominal settings pictured in the cover
illustrations.
General Approach
First, think of a sound, . .get it in your mind. Once
you “hear” it in your head, you can begin to analyze
what basic musical elements make up that sound, and
therefore how to set up the same basics with the
synthesizer.
Three basic elements make up any musical sound,
pitch, timbre and volume. These correspond to the
VCO, VCF and VCA sections. If you want to get a
sound resembling an acoustic instrument, consider
how that instrument generates sound.
What is the basic pitch, the playing range? Use the
TRANSPOSITION pushbuttons [4] to set the key-
board to an appropriate pitch range.
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What is the basic waveform or tone? You set this
with the МСО. If the sound resembles woodwinds
(reed instruments), use the SQUARE WAVE [18] and
try different PULSE WIDTH [17] settings. For strings,
add PULSE WIDTH MODULATION [15 & 16] or use
SAWTOOTH [19]. SAWTOOTH is also useful for
brassy sounds. NOISE [20] alone is good for wind,
thunder, sizzle, and other special effects. lt can be
mixed sparingly with other VCO sounds to add breath.
Use SINE WAVE [31] for colorless or “pure” sounds.
What is the timbre, the tone color? This is set with
the VCF. An “open” sound with lots of harmonics,
like clarinet, suggests the HPF [21] is LOW and the
LPF [23] is HIGH. A sound with body but less
brilliance, like piano, suggests the HPF is still LOW,
but LPF is closed down partially, A very rich, but
muted sound, like a string bass, suggests the HPF is
still LOW, but LPF is closed down quite a ways
toward LOW.
Step-by-Step Examples of Programming
We have presented a handful of patches for you to
try, along with very brief explanations of why the
controls are set as they are. Because everyone con-
ceives of and plays sounds differently, and because
normal component tolerances make it impossible to
give “absolute” control settings, you'll want to vary
the settings to “fine tune” the sound to your taste.
Become aware of what each control does to the patch,
and you will soon find that you don’t need to write
down patches. . ‚you'll instinctively know how to set
all the controls. Remember that the overall BRIL-
LIANCE control [5] and RESONANCE control [6]
may be used to further change a patch once it has
been set.
NOTE: The patches shown for Strings, Harpsichord,
Flute, and other sounds which also appear as Preset
Patches are non-identical to the presets. There are
many different ways to "get a sound,” and the pro-
gramming examples shown here were chosen because
they fall in a logical progression with a minimum change
of control settings. Orchestral instruments are used
only because they provide a good frame of reference:
the CS-series synthesizer can be used to make an infinite
variety of unique sounds once the basic principles are
understood.
NOTE: All panel settings remain unchanged from one
patch to the next, unless otherwise noted. Those set-
tings which do change from the previous patch are
marked in color on the patch diagrams.
y
Clarinet
A square wave [18] with 50% pulse width [17] is
used because it simulates a single reed instrument by
generating odd-order harmonics (3rd, Sth, etc.). The
LPF slider [23] should be set so the sound is clarinet:
like: wide open would be too bright, and mid way up
is about right. VCF envelope [25-29] is used because
VCA envelope alone [32-35] would sound too much
like a calliope or a keyboard instrument. Moderate
VCA envelope Attack [32] and Release [35] times
simulate the gradual build up and collapse of the air
NM
column in a true clarinet. Vibrato is provided by modu-
lating the VCO with a sine wave in the Sub Oscillator
[8]. The VCO lever should first be fully engaged so
the maximum effect can be heard while the speed is
set. After the desired vibrato speed is achieved, the
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VCO modulation should be reduced for a more
realistic effect (excess vibrato often leads to a synthetic
sound). You may wish to engage the Touch Response
[9] BRILLIANCE lever, in which case it is probably
a good idea to lower the LPF slider slightly.
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Trumpet
Change from square wave to sawtooth wave [19]
to include even-order harmonics for a richer sound.
The rest of the patch is almost identical to the clarine
except the VCF envelope's IL [25] and AL [26]
sliders are moved all the way up; this starts the filter
cutoff at a lower frequency and moves it to a higher
frequency than before. The result is a wider change in
harmonic content which is more trumpet like. For
brass sounds that are “darker” than this trumpet, use
ae |
25-50
slightly longer VCF and МСА attack (27 & 32] and
release times [29 & 35] , and lower the LPF slider [23]
т, somewhat. Рог more of a coronet ог “wah” sound,
raise the RESL control [24].
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i
6
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[Er En . us ae US aa
AA
FU РТТ -- oe
21
Flute
The sawtooth is still an appropriate waveform, but
fewer harmonics are desired, so the LPF slider [23]
should be lowered. As harmonics are cut out by lower-
ing the LPF filter cutoff, the waveform actually begins
to resemble a sine wave. It is necessary to turn up the
28
overall Volume [2] because much of the sound is being
filtered out. VCA envelope is used exclusively, so the
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other than filter cutoff frequency, is the change in
Sub Oscillator modulation [8]; МСО modulation
should be greatly reduced or turned off altogether,
and instead replaced by VCF modulation.
Another way to program a flute is to completely
ignore the УСО and VCF sections, lower the VCF
©
slider [30] and use sine wave [31] instead. VCA
envelope then defines the note exclusively. However,
no instrument 15 quite as perfect as the sine wave, and |
this patch tends to sound artificial. The quasi-sine wave
generated with a heavily filtered sawtooth wave tends
to be more realistic. |
IL [25] and AL [26] sliders are lowered all the way to RT TS EEE: . o Il a Meee eee A A oad ;
“turn off” the filter envelope (A, D € А then have no = he И ee es ee Gee) ZE a = Zi
effect, and may be left in position for other patches). == + + u > | + =: = + : = ma — | —|— —|- + =: + | + + |
The major distinction between the trumpet and flute, un. — : . . — — Е == fr + == SE == À
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This patch is almost identical to the flute patch,
with the addition of VCO modulation. Overall tone
may be changed somewhat with the Brilliance lever
[5]. The Sub Oscillator with sine wave VCF modula-
tion, plus Touch Response VCO, give realistic vibrato
only on those notes where it is needed.
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NOTE: Consider the foregoing patches and what
changes occurred in the sound as relatively few changes
were made on the programming panel. Observe that a
different waveform or IL-AL setting account for the
most dramatic changes.
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Oboe
Turn off the sawtooth wave and switch to the
square wave [18]. Use 90% pulse width [17] which
eliminates specific harmonics, as would be the case
with a double-reed instrument. The LPF slider [23]
is raised slightly to allow higher harmonics to be heard, |
and HPF [21] is also raised to obtain a thinner sound
by attenuating some of the fundamental frequency
@
(this creates a narrow bandpass).ILand AL [25 & 26]
are raised to introduce some filter envelope which
simulates tonal changes that occur due to changing
Life
embouchure. Some low pass resonance [?4] may be
added if desired, but AL [26] should then be lowered
to avoid a "wah" sound.
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Multiple Strings
Temporarily turn off the Sub Oscillator VCF modu-
lation [8] and Touch Response VCO so that the rate of
pulse width modulation can be easily heard. Reduce the
pulse width [17] to about 70%, and set pulse width
modulation [16] at maximum so that the speed [15]
can be determined. Once the speed is set, reduce the
amount of PWM to taste. Now vibrato can be re-
introduced by bringing up the sub oscillator VCO lever
[8]. The mixture of these two types of modulation,
PWM and sub oscillator VCO, give the effect of more
ani om
than one instrument playing. The VCF and VCA attack
times [27 & 32] and release times [29 & 35] are
lengthened to simulate the bowing of strings as
opposed to the quicker initiation of sound in an oboe.
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30 Lower the PWM slider [16] all the way, and raise the
pulse width to 90% [17]. Remove all Sub Oscillator
[8] modulation, VCF and VCA envelope Attack times
[27 & 32] are both set at minimum for a plucked sound.
While either VCF or УСА attack could be used alone,
together they provide a more natural sound, simulating
the change in harmonics that occurs as a string is
plucked and then settles down (VCA envelope alone
sounds more synthetic). Low Pass Resonance [24] may
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be added, but the AL should then be lowered somewhat
to avoid a “wah” sound.
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Bells & Gongs
Move the pulse width [17] back to 50%, and fully
engage the Ring Modulator [12] Speed and Modulation
controls. If desired, add Sub Oscillator [8] modulation |
of the УСА. For bells, the TRANSPOSITION push-
buttons [4] should be set at 1 OCT up; NORMAL or
lower settings are useful for gong sounds (Brilliance
[5] should also be adjusted for gangs).
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USING THE PROGRAMMABLE PANEL TO
DUPLICATE THE PRESET PATCHES
As stated elsewhere in this manual, the preset
patches were all derived from settings of the program-
mable panel. Normally, there would be no need to
duplicate the presets by programming the panel. How-
ever setting up the panel to emulate the presets can
serve as a good point of departure for developing
your own patches,
The following diagrams of programmable panel
settings correspond to the synthesizer’s 13 preset
patches (the CS-60 has a MEMORY button instead of
the FUNKY 3 preset, but you can still program
FUNKY 3 on it). Some settings are very critical, and
a slight change of adjustment can make the difference
between а poor match or a perfect match with the
equivalent preset's sound. The fine tuning of controls
necessary to match the preset is very relevant to
making your own entirely unique patches because you
experience how to subtly manipulate the controls for
specific effects.
A few patches are more difficult to fine-tune than
the others, due to a combination of acritical pulse width
adjustment, HPF and LPF settings that yield a band-
pass filter, and VCF envelope. The “tricky” patches
are: Clavichord, Guitar 1 & 2, and Funky 1 & 3; it is
probably a good idea to return to these after you have
worked through the other patches.
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1. Tune the patches using the middle of the key-
board (Transposition set at NORMAL [4] }. This
allows you to hear the fullest spectrum of overtones
for more accurate adjustments.
2. If the setting involves adjustment of Pulse Width
[17], first adjust that control for the closest sound
match.
3. Adjust the filter settings [21-26] : LPF, HPF,
RESL and RESH. Press the keys lightly so that any
Touch Response effects do not commence. (NOTE:
If VCF envelope [25-29] is in use, also see Step 4
below. |
4. № VCF envelope (IL and/or AL} is in use, hold
down а key until the filter settles to a steady, un-
changing cutoff. Then adjust the filter LPF [23]
and HPF [21] controls.
5. lf VCF AL [26] is used, adjust it to produce the
brightest sound obtained in that patch; then read-
just the LPF [23] and HPF [21] sliders as required.
6. If the program and panel patches are the same,
then they should react identically to exaggerated
settings of the overall Brilliance [5] and Resonance
[6] controls. One at a time, set these two controls
all the way up, and all the way down, comparing the
preset and programmed patches. № differences in
sound are observed at extreme settings, adjust the
corresponding controls on the Panel to re-match the
preset and programmed sounds: RESH and/or
RESL at extreme Resonance settings; HPF and/or
LPF at extreme Brilliance settings.
UN
STRING 1
See additional panel setups on following pages.
31
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