Yamaha CS-10 Owner's Manual page 14

BASIC
SOUND
MAKING OPERATIONS
To ensure proper
setting of
the controls of each
block,
it is
not only
necessary to
have
a
proper understanding
of the function of each
control,
but
it
is
also
necessary
to
under-
stand
how
the controls
are correlated.
The
following describes the process
of sound making
while
also
describing the
key
points.
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HOW
TO SELECT THE SOUND SOURCE
The
matter of whether
it is
better to use the saw-
tooth wave,
or the square wave,
as
the sound source
is
decided
after actually listening
to the
two
sounds and
comparing them.
But
in
the
case
of
making
artificial
sounds of muscial instruments, excepting those of
closed
wind instruments such
as
the
clarinet,
it is
most
common
to select
saw-tooth waves having
integral-
multiple
harmonics.
On
the other
hand,
when
sounds
distinctly
charac-
teristic
to the synthesizer (such
as
cosmos
sounds)
are
to
be made,
use
of
square
waves
proves to
be
more
effective.
The
sounds of saw-tooth waves and
square
wave should be compared by
actually listening to
both
of
them.
In
order
to
do
this,
first
set
the controls
in
the
manner of
the
basic setting illustrated in Fig.
1,
and
then switch the
MIXER
alternately
over to
"
IX
1"
and
''
PL
2
",
depressing the
keyboard each time
to
confirm the difference.
In this case,
f\
1 is
to
be
set
to
"0", while
HL
2
is
to
be
set
to
maximum.
(Fig. 2)
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VCF BLOCK
The more
the harmonics of the saw-tooth wave, or
square
wave,
increases to a higher order, the smaller the
amplitude
will
become.
Accordingly, the
more
the
harmonics
are
of
a
lower
order,
the the tone-determining
factor
will
become
larger.
For example,
when
the cut off frequency
is
set to a
high
level
on the
"H"
side
with
the fiher
set
to
LPF
1
,
no marked
change
will
be observed
in
the tone even
when
the cut off frequency
is
controlled
by
the
EG,
or
LFO.
On
the
other hand,
when
the
cut
off frequency
is
set
so that cut off
will
take place
even
down
to low-
order harmonics, the
EG
and
LFO
effects will
become
marked. Confirm
this
by
using the
LFO
MOD
2
.
First,
with
the
CUT OFF FRQ
3
fully
turned
clock-
wise,
slowly turn the
LFO
MOD
2
control.
Then,
position the
CUT OFF FRQ
2 to the center and turn
the
LFO
MOD
control
in
the
same manner.
You
will
most
probably
see that the position
at
which
the
LFO's
modulated sound can be confirmed
will differ vastly:
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Fig. 3