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16
P
AGE 1Q1KEYGRQUP
VELOCITY
RESPONSE
-*\£
VLCTY
*Loudness
3
tHtatk
50
*KGI
SENS.
*Filt«r
50
*Rt!iin
+00
Three
different
paramenters can be
altered
by
the
note-on
velocity:
loudness,
filter
frequency,
and
attack
time.
Release
time
can be
altered
by
a
note's
release
(note-off) velocity.
LOUDNESS
Point
arrow
at
"Loudness."
Use
CONTROL
or enter
a
two-digit
number (00—99)
with the
0-9
keys.
With
00
loudness, the
loudness remains constant
regardless
of
keyboard
velocity.
Increasing
this
number
(up
to
99) increases
the
effect that velocity
has on
loudness,
with
more
velocity
giving
a
louder
sound. Thus, the harder
you
play,
the louder the
keygroup sound.
FILTER
Point
arrow
at "Filter."
Use
CONTROL
or enter a two-digit
number (00—99)
with the
0—9
keys.
With a
setting
of
00, the
filter
cutoff
frequency remains constant
regardless
of
keyboard
velocity.
Increasing
this
number
(up
to
99)
increases
the
effect that velocity
has on
filter
cutoff,
with
more
velocity giving a higher
filter
cutoff
frequency.
Thus,
the
harder
you
play,
the
brighter
the
sound.
This
effect
is
characteristic
of
many
acoustic instruments.
ATTACK
Point
arrow
at
"Attack."
Use
CONTROL
or enter a two-digit
number (00—99)
with the
0—9
keys.
With a
setting
of
00, the attack
remains constant
regardless
of
keyboard
velocity,
increasing the
number
(up
to
99) increases
the effect that velocity
has on
attack
time,
with
more
velocity
giving shorter attack times.
Thus,
playing
forcefully
creates
more
percussive
sounds
than playing
lightly.
RELEASE
Point
arrow
at
"Release."
Use
CONTROL
or
use
the
+,
—
,
and
0—9
keys
to
enter a
two-digit
from
—50
to
+50.
With a
setting of
00, the release
remains constant
regardless
of
the release
velocity.
With
higher
numbers
(up
to
+50),
releasing
the
keys
quickly gives a longer release time than releasing the
keys
slowly.
With lower
numbers (down
to
—50),
releasing the
keys
quickly gives
a
shorter release time
than
releasing the
keys
slowly.
PAGE
1
1
WARP
(automatic
pitch
bend)
*il]l
WARP tViltcit)
Time
99
•
KGI
*Attuk
offset +00
Warp
adds
a
pitch-shift to
a note's attack
so
that
the note
starts
slightly
sharp
or
flat
before
gliding
down
or
up
respectively
to
the
normal
pitch.
1
Point
arrow
at
"Velocity."
Use
CONTROL
to
set
warp
interac-
tion
with
velocity
as
follows:
0:
Velocity
does
not
affect
warp,
which
is
constant.
1
-1
28:
Higher
numbers
give
more warp
with greater
velocity.
The amount
of
warp
is
hardly noticeable
at
1
even
with very
hard
playing; at
1
28, playing
hard gives strong warps.
2.
Point
arrow
at
"Time."
Use
CONTROL
to
set the
amount
of
time
over
which
the
warp
occurs
(0
=
short,
1
28
=
long).
3.
Point
arrow
at
"Attack
offset."
Use
CONTROL,
or the
+,
-,
and
0—9
keys,
to
set
total
amount
of
pitch
warp and
direction.
Examples:
+00
gives
no
pitch
warp.
—25
gives
a
slight
warp
from
fiat
to
normal
pitch,
—50
gives a strong
warp
from
flat
to
normal
pitch,
and
+
50
gives
a
strong
warp
sharp
to
normal
pitch.
Note:
An upward
pitch
warp
is
characteristic
of
wind
instruments
(sax
etc.);
a
downward
pitch
warp
is
characteristic of
plucked
instruments
(bass,
drums,
etc.).
PAGE
121
LFO
(low
frequency
oscillator for
modulation)
— T2
LFO.
*
Depth
(Rita
lOil
«
*D«sync
•KGI
64
64
ON
The
S900's
LFO
adds
vibrato effects
and has
four
parameters:
DEPTH
(of
modulation)
Point
arrow
at
"Depth."
Use
CONTROL
or
the
0—9
keys
to
select
a
two-digit
number
(up
to
99).
Larger
numbers
make
the
vibrato
effect
more
noticeable.
RATE
(of
modulation)
Point
arrow
at
"Rate."
Use
CONTROL
or the
0—9
keys
to
select
a
two-digit
number
(up
to 99).
Larger
numbers
increase the
vi-
brato
speed.
DELAY
(th©
time over
which modulaton
fades
In)
Point
arrow
at
"Delay."
Use
CONTROL
or the
0—9
keys
to
select
a two-digit
number
(up
to
99).
Larger
numbers
increase the
amount
of
time over
which
the
modulation fades
in.
DESYNC
(LFOs)
Each
S900
voice
has
its
own
LFO.
These
may
be
synchronized
so
that
all
notes
vibrato together, or
desynchronized so
that
vi-
brato
occurs
individually
for
individual notes.
Desync
LFO
ef-
fects
are useful
when
creating
complex
sounds,
such as
string
sections.
Point
arrow
at
"Desync." Press
ON/+
to
sync LFOs,
OFF/—
to
desync.
PAGE
131
LFO DEPTH
(via
aftertouch or
modulation wheel)
—
13
UFO DEPTH
Mf
tirtoueh
*Mod.
>hnl
*KG
I
SO
LFO
depth
is
often not set
for
a
fixed
amount
(as
described
in
Page
1
2)
but
selectively
introduced
under
control of the player.
One
method
is
to
use
a modulation
wheel,
where
turning the
wheel adds
modulation.
Another
is
to
use
a
keyboard
with
after-
touch,
where
pressing
on keys once
they are
down
introduces
modulation.
Note:
Any
modulation
added
on
this
page
is in
addition
to
the
modulation depth
specified
on
PAGE
1
2.
AFTERTOUCH
(LFO depth
control)
Point
arrow
at
"Aftertouch."
Use
the
CONTROL
or
the
0-9
keys
to
enter a
two-digit
number.
The
higher the
number,
the greater
the
modulation depth
when
aftertouch
is
activated.
MOD WHEEL
(LFO depth
control)
Point
arrow
at
"Mod.
wheel."
Use
the
CONTROL
or
the
0-9
keys
to
enter a
two-digit
number.
The
higher the
number,
the
greater the
modulation depth
when
the modulation
wheel
is
turned
to
its
maximum
travel.
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