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5.
Concerning
Tone
Editing
The
JV-IOBO
provides
the
tools
which
allow
you
to create
some
excitingly
realistic
sounds.
However,
it
is
impor-
tant to
remember
that a
complex
PCM
waveform
serves as the
foundation
for
every sound,
and
if
you
attempt
to edit
without regard
for
the
characteristics
of the original
waveform,
you
may
not obtain
tl\e
results
you
expect.
•
Types
of
Waveforms
The
wavefornts
m
tlie
internal
memory
of
the
JV-IDBQ
can be
classified
into
the
following
two
types.
One-shot
Waveforms:
Tlnese
waveforms
contain
sounds
dnat
have
short decays.
A
one-shot
waveform
records the
initial
rise
and
fall
of the
sound.
Some
of the
JV-lOBD's
one-shot
waveforms
are
sounds
that
are
complete
in
themselves,
such
as percussive
instrument sounds.
The
JV-1080 contains
many
other one-shot
waveforms
diat
are
only
partial
elements
of
sounds, however. For
exam-
ple,
attack
components
such
as the
sound
of a
piano
hammer
or
the
fret
noise of
a
guitar.
Looped Waveforms:
These
waveforms
contain
sounds
that
have
long
decays.
With
looped waveforms,
the
latter
part of the
sound
is
generated repeatedly over
a
specified
portion of
the
waveform
for as
long
as the
note
is
held.
(Looping allows
the
wave
memory
to
be used
more
efficiently.)
The
looped
waveforms
in the
JV-IDBO
provide
the sustain
portion
(i.e.,
Oxe
main body
of
the
sound)
for
many
different
instruments.
The
following
diagram
shows
an example
of a
sound
(electric
organ)
that consists
of a one-shot
waveform
used
together
with
a
looped waveform.
TVA ENV
for
looped
Organ
waveform
(sustain
portion)
TVA ENV
for
one-stiot
Key-
clicl<
waveform
(attacl<
portion)
Resulting
TVA ENV
change
I
BBEHHShL.
Key-off
Key-off
•
Caution
when
editing
a
Tone
that
uses
a
one-shot
waveform
An
envelope cannot be used
to
give
a
one-shot
waveform
a longer
decay
than
the original
waveform,
or
make
it
a
sus-
taining
sound.
Even
if
you
made
sudi envelope
settings,
you would
simply be
controlling a non-existent portion of
the
sound,
so
such
settings
would
have no meaning.
•
Caution
when
editing a
Tone
that
uses a
looped
waveform
With
many
instruments (mcluding piano
or
sax) the
timbre changes
dramatically
during
the
first
few
moments
of the
note.
It
is
tliis
iiutial
"attack" that defines
much
of the character of the instrument.
The
JV-IDBD
provides
a variety
of
waveforms
containing
lifelike
acoustic
instrument
attacks.
To
obtain the
maximum
realism
when
using
these
wave-
forms,
it
is
best
to
leave the
filter
completely
open
during
ti\e
attack.
That way,
all
the
complex
timbral
changes can be
heard.
For the
sustain
and
decay
portion of the
soui^d,
you
can
use
the
envelope
to
produce
the desired
changes.
Should
you
use the envelope
to
modify
tlie
attack
portion as
well,
the nahiral attack
contained
in
the
waveform
itself
will
not
be heard
to
full
advantage,
and you
may
not achieve
the
result
you
expect.
e
change storM
with
the
wave
Envelope
for
the
TVF
HHor
Resulting
tone
change
You
also
need
to
keep
the timbral character of
tlie
original
waveform
in
mind when
you
wish
to
use
the
TVF
filter
to
brighten
just
the attack or
subdue
only
the
decay. In
particular,
if
you hope
to
brighten
part of die
sound
to
a
bright-
ness greater
tlian
the
original
waveform
(refer to
"FXM"
^
p.50),
you
will
have
to
create
new
upper-range
partials
that
were
not present
m
the original
waveform.
If
you wish
to
make
die entire
sound
brighter
than
tlie
original
waveform,
you should
start
by
adjusting
the
enhancer
or equalizer before
you
edit the
TVF
parameters.
26
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