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Part VI
DISTORTION
Amount of distortion applied to
the
sound
.
TREMULANT 1, 2
This
is
a
distinctive
vibrating effect, peculiar to
pipe organs
,
of air flowing through the pipes
.
SPEED 1
Speed of
effect
applied to tab sounds.
SPEED 2
Speed
of effect applied
to EXTRA TAB VOICES
.
MASTER TUNING
This setting is used to fine-tune the pitch of the
entire
instrument. This
is
convenient when play-
ing
with other
instruments
or with a recorded per-
formance
.
You can also select from two types of
tuning
.
1. On
the SOUND menu display, select MASTER
TUNING
.
• The display changes to the following.
MA51ER TUNING
TUHE
:440.0
Hz
TUHIHG TYPE
[~·l!l:Jg
i
3iiQ3 :1:1:13:11
PIAHO TUHIHG
TECHNI-CHORD TYPE
Select the desired harmony style for
the TECH-
NI-CHORD.
1.
On the SOUND menu display, select TECH-
NI-CHORD
.
• The display changes to the following.
TECHNI-CHDRD TYPE
[B!!ffi
BLOCK
Gl~
OPEH 1
BIG
BAHD
BRASS
OPEH 2
BlCl BAHD REEDS
DUET
OCTAVE
Gl~
COUHTR'I
HARD ROCK
THEATRE
FAHFARE
H'IHH
119
.Adjusting the sounds
DEPTH 1
Depth of effect applied to tab sounds
.
DEPTH 2
Depth of effect applied to EXTRA TAB VOICES.
2. Select MASTER TUNING.
3.
Use
the
1\
and
v
buttons to adjust the pitch
within a range of 427 .3 to 453.0 Hz.
• The decimal can be
set
to 0
,
3 or 6.
4. Select TUNING TYPE.
5.
Use the
1\
and
v
buttons to select
the
type of
tuning.
EQUAL
TEMPERAMENT
One octave
is
divided
into
pitches of equally
spaced intervals
.
PIANO TUNING
Standard acoustic
piano
tuning, in which the
lower pitches are tuned
slightly
lower and the
higher pitches are tuned slightly
higher.
2.
Use the
1\
and
v
buttons to select the harmony
style.
•
When the OCTAVE
,
HARD ROCK or FAN-
FARE style
is
selected, the TECHNI-CHORD
is always active for the upper
keyboard.
• For a detailed explanation of the different har-
mony styles, refer
to
the separate "REFER-
ENCE GUIDE" provided.
You can also access th is display by pressing
and holding the TECHNI-CHORD button for a
few seconds.
•
In this case
,
you
can
press the EXIT button
to
return to the previous display
.
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