Yamaha CS-80 Instruction Manual page 32

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.
STRING
1
STRIMG
2
UUiHB^rr
^WTIAL^
^tiiTBI-,
LEVfi HrHiUUm LEA BOUUCE
L£V&
TTKjt
mimm
iHllBli
;.
-"-
-^ *-
-= -^ jm
J.6
J«
10 '9
iH .M
'0 .M
-n
S«tD
>WM
wuiMci
Liw.
aniMa
n*
STRIMG
3
STRING
4
lilHIl
::- -
J
.W
.DW
:
--
z
I
iE?=E==
=
<KtV 'MM Hi
tKAiMKi
Liva
muMta
uvs
nLiii
lEVEl
HtLlMHCf li«t