How To Use; Settings; Control; How To Program - Yamaha CS-50 Instruction Manual

HOW
TO USE
PROGRAMMING
TO GET A SOUND
C
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26
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.
.
.thai
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
14]
to
set
the key-
board
to
an appropriate
pitch range.
What
is
the
basic
waveform
or
tone?
You
set this
with the
VCO.
If
the sound resembles
woodwinds
Ueed
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
lor
brassy sounds.
NOISE
[20! alone
is
good
for wind,
thunder,
sizzle,
and
other
special effects.
It
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.
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