Yamaha CS-80 Instruction Manual page 32

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USING
THE
PROGRAMMABLE
PANELS TO
DUPLICATE THE PRESET PATCHES
I
28
As
stated
elsewhere
in
this
manual,
the preset patches
were
all
derived
from
settings of
the
programmable
panels.
Normally,
there
would
be
no need
to duplicate
the presets
by
programming
the
panels.
However,
setting
up
the panels to
emulate
the
presets
can
serve
as a
good
point of departure
for
developing
your
own
patches.
The
following
diagrams
of
programmable
panel
settings
correspond
to the
22
preset patches.
Some
settings are
very
critical,
and
a
slight
change
of
adjustment
can
make
the difference
between
a
poor match
or
a
perfect
match
with the equivalent
preset's
sound.
The
fine
tuning
of
controls necessary to
match
the preset
is
very
relevant
to
making your
own
entirely
unique
patches because
you
experience
how
to
subtly
manipulate
the controls
for specific
effects.
Bear
in
mind
that there are
several
ways
to
"A-B"
compare
the
presets
to the
sounds
you
program. For
greatest
accuracy,
we
suggest using the panel
which
is
on
the
same
channel
as
the preset
you
wish
to duplicate.
For
instance,
if
you want
to
program
the
Flute,
use
the
Channel
I
panel; for
Bass,
use
Channel
II,
etc.
This
means
that the
same
8
oscillators,
filters
and
envelope
generators
will
be
producing
the
sound.
If
you
use
a
Channel
I
preset
with
a
Channel
1
1
panel.
or
vice-versa,
a
completely
different
set
of
oscillators,
filters
and
envelope
generators
are
creating
each sound.
A
few
patches
are
more
difficult
to
fine-tune
than
the
others,
due
to
a
combination
of
a
critical
pulse
width adjustment,
HPF
and
LPF
settings
that yield
a
bandpass
filter,
and
VCF
envelope.
The
"tricky"
patches
are:
Clavichord
1,
Guitar
1
&
2,
and
Funky
1
&
3;
it is
probably
a
good
idea
to return to
these
after
you
have
worked
through
the
other
patches,
1.
Tune
the patches using the
middle
of
the key-
board
(FEET
selector
[5]
at
8'),
This allows
you
to
hear the
fullest
spectrum
of
overtones
for
more
accurate adjustments.
2.
If
the
setting involves
adjustment
of Pulse
Width
[22]
,
first
adjust that control for the closest
sound
match.
3.
Adjust
the
filter
settings
[26-29]
:
LPF,
HPF,
RESI and
RESh.
Press
the keys slowly
and
lightly
so that
any
Touch
Response
effects
do
not
com-
mence.
(NOTE:
If
VCF
envelope
[30-34]
is
in
use,
also see
Step 4 below.)
If
Touch
Response
After-
Level [44]
and
After-Brilliance [45] are used, press
the
keyboard
lightly
when
first
setting
the
filter.
Then
press
the keys harder
and
set
After-Level
and
After-Brilliance accordingly.
It
may
then be
necessary
to
retouch
the
filter
settings.
4.
If
VCF
envelope
(IL
and/or
AL)
is
in
use,
hold
down
a
key
until
the
filter
settles
to
a
steady, un-
changing
cutoff.
Then
adjust the
filter
LPF
[28]
and
HPF
[26] controls.
5.
If
VCF
AL
[31]
is
used alone without
IL,
adjust
it
to
produce
the
brightest
sound
obtained
in
that patch;
then
readjust the
LPF
[28]
and
HPF
[26]
sliders as
required.
6.
If
Initial-Brilliance
[42]
and
Initial-Level
[43]
are
used,
strike
the keys quickly to
determine
whether
the
effects are identical
in
the preset
and
programmed
patch; adjust
as
required.
7.
If
the
program and
panel patches
are
the
same,
then they should
react identically to
exaggerated
settings of
the
overall Brilliance
[7]
and Resonance
[8]
controls.
One
at
a
time,
set
these
two
controls
all
the
way
up,
and
all
the
way
down, comparing
the patches.
If
differences
in
sound
are
observed
at
extreme
settings,
adjust the
corresponding
controls
on
the Panel
to
re-match the
preset
and
programmed
sounds:
RESh
and/or RESI
at
extreme Resonance
settings;
HPF
and/or
LPF
at
extreme
Brilliance
settings.
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