Table of Contents
Advertisement
(e)
RIGHT
DEPTH:
This sets
the depth
of
the
scaling effect to
the right of the
BREAK
POINT.
*
LEVEL SCALING
is
very effective in
creating natural-sounding acoustic
instrument voices.
*
As shown in figure
56,
LEVEL SCALING
permits
the
creation
of
completely
different timbres
for the
low and high
frequency
ranges.
(12)
LEFT DEPTH
*
0—99
This sets the depth
of
the LEVEL SCALING
effect
to the
left
of
the
BREAK POINT,
*
The data range is
—
99.
At
LEVEL
SCALING
is OFF, and at
9 9
maximum level
variation
is
produced,
*
The depth setting
can not
cause operator
level to exceed the level at which the
OPERATOR OUTPUT LEVEL parameter
is set
(maximum OPERATOR OUTPUT LEVEL
= 99)
Depth data set
for an
output level
greater than the OPERATOR OUTPUT LEVEL
setting will result
in a
maximum output
level equal to the
OPERATOR OUTPUT
LEVEL setting.
(13)
LEFT CURVE
*
:
+LIN/+EXP/-LIN/-EXP
This sets the
LEVEL SCALING
of
the
BREAK POINT.
*
One
of
the
following
fo
selected:
+
LIK:
This
is
a
linear
and produces
the large
variation.
+
EXP:
This
is an
expone
which produces
a
gentl
- EXP:
This
is an
expone
level.
Gentle variati
-
LIN:
This
is
a
linear
level.
Large audible
*
The
selected curve
ligh
display.
curve
to the
left
ur
curves can
be
level increase,
St
audible
ntial increase,
er
variation.
ntial decrease in
on.
decrease in
variation.
ts
on the LED
(14)
DREAK POINT
*
0—99
This sets the key
which
is to be the
"center"
of
the level
scaling
curve.
It
is
possible
to set
different scaling characteristics for
the
keyboard sections
to the
left and right
of
the
BREAK
POINT,
*
The
key
selected
to be the break point
is
not affected by level scaling.
*
The data range
is
—
99.
0=A-1, 99=C8.
This means that the
BREAK POINT
can be
set at any
half-tone interval
on the
keyboard.
*
Since
the
keyboard range
is
from
EO
to
E6,
it is
possible
to set the
BREAK
POINT outside
the
keyboard
range.
(15)
RIGHT CURVE
*
:
+LIN/+EXP/-LIN/-EXP
This
sets the LEVEL
SCALING curve
to the
right
of
the
BREAK
POINT.
*
The functions are the same
as for
LEFT
CURVE,
described above.
(16)
RIGHT
DEPl'H
*
:
—
99
This sets the LEVEL SCALING depth
to the
right
of
the
BREAK
POINT.
*
The functions are the same as for LEFT
DEPTH,
described
above.
RATE SCALING
(fig.
41)
This function makes
it
possible
to
set the EG
rate so that it increases as higher notes are
played
on the
keyboarc".
That
is,
the
higher
the note played, the faster the
EG rate.
Only
a
single parameter
is
available
for
this
function
—
DEPTH
—
however, it can
be set
individually
for
each operator,
so
both level
and timbre can
be
controlled,
*
RATE SCALING makes
it
possible
to
synthesize
the
sound
of
some string
instruments, like piano and guitar,
which have much faster response
in the
high frequency ranges
(fig.
42)
(17)
RATE SCALING
*
:
0—7
This sets
the depth
of
RATE SCALING.
*
When
a
RATE SCALING value
is set, the EG
rate increases
as
higher notes are
played throught
the A-1 to F#7
keyboard
range.
The
EG
rate
is
constant
for aljg
notes above
F#7 (fig, 41).
^
*
The data range
is
0—7.
At
RATE
SCALING
is OFF,
and
at
7
RATE SCALING
is
maximum (highest
EG
rate).
Fig.
41.
Rate
Scaling'
A-1
LOW
Fig. 42.
Rate Scaling Function
KEYBOARD RATE
SCALING
LOW Notes
High Notes
•
EG
EG
Creates envelope effect:
low note section sounds
ate long, high note section sounds ace short.
SENSITIVITY
(fig.
43)
This
is
a
master parameter which
sets the
sensitivity
of
KEY VELOCITY (initial
touch)
and AMPLITUDE MODULATION (tremolo, etc.).
(18)
KEY
VELOCITY
*
0—7
This function makes
it
possible
to
set
natural touch response (initial
touch)
such
that the harder
a
key
is
played, the louder
the
sound and the brighter
the timbre, etc.
"How hard" the key
is
played
is
actually
sensed
by
detecting
key velocity.
*
This can
be set
independently
for each
26
Advertisement
Table of Contents
