Yamaha DX1 Owner's Manual page 23

key pressed.
The
operator pitch
is
set
at
a
0,50
—
61.69 ratio in relation
to
the
keyboard
standarc; pitch
(8').
*
If
all operators
are set to this mode
then the
harnionic content
of the
sound
is the
saivie
regardless
of the pitch,
FIXED
FREQUEIJCY
*
This mode permits fixing the operator
frequency.
Operator pitch can
be set
between
1
Hz
and 9770
Hz.
* If all
operators
are set to this
mode
then the pitch
of the
sound will not
change regardless
of the key pressed.
The fixed frequency
liiode
is useful for
creating sounds with
no
pitch
variation,
such
as
bells and noise.
It
can also
be
used when the pitch
of
one
operator
is
set extremely low
in
order
to
modulate
the
carriers
to
produce
a
vibrato
effect.
(6)
COARSE*
(7)
FItJE*
These functions set
the
pitch
of
each
k
operator,
"
*
For operators which
are functioning
as
carriers
this determines
the keyboard
pitch (footage), and
for opertors which
are
operating
as
modulators
it
determines
the
harrr.onic
spectrum
of
the
resultant sound,
^p.S7
*
When
the
operator being adjusted
is
a
modulator, raising
the pitch increases
high-frequency
harrrionic
content
for
a
brighter, sharper sound.
*
If
the
pitch
of
a
modulator
is
varied
only slightly from that
of the carrier
which
it is modulating,
low frequency
harmonics
are generated
as well as high
frequency harmonics, resulting
in
a
"pitchless" sound,
*
The data control increments are
different according
to the oscillator
mode setting,
FREQUEIICY
RATIO mode
Data is input as
a
ratio
in relation
to
k
standard keyboard pitch.
'
COARSE
0.50
—
31.00 (FINE
at LIN:
1.00
increments)
0,99
—
61.6
9
(FINE at MAX:
1.99
increments)
FINE (COARSE increments
x
1/100)
0.50
—
0.99 (COARSE
at niM
:
0.01
increments)
31.00—61.6
9
(COARSE at
I-iAX:
0,31
increments)
The DXl standard keyboard pitch
is 8'.
Therefore,
in terms
of footage,
0.50=16', 1.00=8' and 2.00=4'.
FIXED FREQUENCY mode
Data is input as
a
frequency,
COARSE
1.000—1000
Hz
(FINE at
iilH:
xlO^lC/3
oct=4000 cent increments)
9.770
—
9770 Kz
(FINE at
liAX:
xl0=10/3
oct=4000 cent increments)
FINE (COARSE increments
x 1/100)
1.000
—
9,770
Hz (COARSE at MIN:
1/30
oct=40 cent increments)
1000—9770
HZ (COARSE AT MAX:
OCT=40 cent increments)
(8)
DETUNE*: -7
—
+7
1/30
This function slightly detunes
the pitch
of
each operator in relation to the others,
creating
a
deep, full sound,
*
Detune data can
be set over
a
-7
—
+7
ranee
(maxiir.um
detune=±2 cents).
For
example,
if the
frequency ratio
is set
at 1,00,
a
maxin.um pitch variation
of
1.2
Hz
will
be
produced when
the C3 key
is pressed.
* If
detune is applied
to
operators acting
as carriers,
a
slight pitch variation
is produced, resulting
in a
"multi-instrument"
sound.
* If
detune
is applied
to
operators acting
as
modulators,
a
slight phase shift
variation
is introduces causing
a
periodic timbre variation,
ENVELOPE
GELIERATOR (fig,
30)
The distinct character
of
a
musical
instruTuent is determined
not only
by it's
harmonic content,
but by the way its level,
pitch and harmonic content vary with
tin.e.
The ENVELOPE GENERATOR permits programming
all these
elements
for any voice,
*
The
EG
sets the time-based
variation
of
level and timbre, while the PITCH
EG
sets time-based
variation
of
pitch,
*
The
EG and PITCH
EG both offer
a
variable parameters, compared
to the
4
variable parameters available with
conventional ADSR
type envelope
generators.
(9)
RATE
1
—
4*:
1—99
(10)
LEVEL
1—4*:
0—99
These switches select the desired
EG or PITCH
EG parameter.
Fig, 30. Envelope Generator Section
B B B B
(SPACi
,
I
;
' '
IMPLAV
B Q Q
qS
lJ
\
_i
I ®
(0
EG (fig.
31)
This
is the level
a
generator.
It can
each operator.
Each parameter func
(a)
Rl (Rate
1)
reach Level
1
(b)
R2 (Rate
2)
reach Level
2
(c)
R3 (Rate
3)
reach Level
3
(d)
R4 (Rate
4)
reach Level
4
nd timbre envelope
be set individually
for
ticns as follows:
the time it takes
to
after
t
key is pressed,
the time it takes to
from Level
1,
the time
it takes
to
from Level2
the time
it takes to
after
a
key
is
released.
23