Yamaha CS-80 Instruction Manual page 28

HOW
TO
USE
PROGRAlVllVlfNG
.
TO GET A SOUND
|
24
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 programnning
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
.
. .
that
is,
begin with the nominal
settings pictured
in
the cover
illustration.
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
VGA
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
FEET
selector
[5]
to set the
keyboard
to an appro-
priate pitch range.
What
is
the basic
waveform
or tone?
You
set this
with
the
VCO,
If
the
sound
resembles
woodwinds
(reed instruments), use the
SQUARE WAVE
[23]
and
try different
PULSE WIDTH
[22] settings. For
strings,
add
PULSE WIDTH MODULATION
[20
&
21]
or
use
SAWTOOTH
[24]
.
SAWTOOTH
is
also useful for
brassy
sounds,
NOISE
[25]
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
[36] 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.
f
like clarinet, suggests the
HPF
[26]
is
LOW
and
the
LPF
[28]
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 con-
trols are set as they
are.
Because everyone conceives
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
[7]
and
RESONANCE
control
[8]
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
fail \n
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-80
can be used to
make
an
infinite variety of
unique sounds once
the
basic principles are
understood.
NOTE: AM
panel
settings
remain unchanged from one
patch to the next, unless otherwise noted. Those
settings
which do change from
the previous patch are
marked
in
color
on
the patch diagrams.
Clarinet
A
square
wave
[23]
with
50%
pulse
width
[22]
is
used because
it
simulates
a
single reed
instrument by
generating
odd-order harmonics
(3rd, 5th,
etc.).
The
LPF
slider [28]
should be
set
so the
sound
is
clarinet-
like;
wide open would
be too
bright,
and
mid way up
is
about
right.
VCF
envelope [30-34]
is
used because
VCA
envelope aione [37-40]
would sound
too
much
like a calliope or a
keyboard
instrument.
Moderate
VCA
envelope Attack
[37]
and
Release [40] times
simulate
the gradual build
up and
collapse of the
air
column
in a
true clarinet. Vibrato
is
provided by
modulating
the
VCO
with
a
sine wave
in the
Sub
Oscillator [11].
The
VCO
lever
should
first
be fully
engaged so the
maximum
effect
can be heard while
the speed
is set.
After the
desired vibrato speed
is
achieved, the
VCO
modulation should
be reduced
for
a
more
realistic effect (excess vibrato often
leads to
a
synthetic sound).
You may
wish to advance the
Touch
Response Section [42-45]
Initial or
After
Brilliance
and
Level sliders, in
which
case
it is
probably
a
good
idea to
lower
the
LPF
slider slightly.
Trumpet
Change from
square
wave
to sawtooth wave
[24]
to include even-order
harmonics
for a richer
sound.
The
rest
of the patch
is
almost
identical to the clarinet,
except
the
VCF
envelope's
IL [30]
and
AL
[31] sliders
are
moved
all
the
way
up;
this starts the
filter
cutoff
at a
lower frequency and moves
it
to
a
higher frequency
than
before.
The
result
is
a
wider change
in
harmonic
content which
is
more trumpet
like.
For
brass
sounds
that are
"darker" than
this
trumpet,
use slightly
longer attack [32
8t
37]
and
release times [34
&
40]
and
lower the
LPF
slider [28]
somewhat. For more
of
a
coronet
or
"wah"
sound,
raise the
R
ESi_
control [29]
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