Fun To The Power Of 15 - Yamaha CS1x Manual

A special case are the dotted note rhythms (3/8, 3/16 and
3/32). The above rules don't apply here. These resolutions
are particularly interesting for odd-numbered beats (e.g. æ,
3/8 or 6/8). You will need to play chords with an even note
number to play back these three-part rhythms correctly.
PERIMENT:
Select Performance TP064 with Arpeggio type „UpOct2"
and a 3/8 resolution. Now playing a triad will fi nd the root
note on the fi rst beat in the 4th bar, in other words irregular
cycles are generated. A 4 note chord however generates
symmetrical 4 bar cycles, i.e. the root note is repeated after
the fi rst cycle on bar 3, after the second cycle on bar 5 and
after the third cycle on bar 7 etc - always on the fi rst beat.
Note Example: 3 notes
Note Example: 4 notes
Between you and me: you don't always have to be so
strictly analytical. The occasional breaking of the rules and
other such mischief often produces the most interesting
music! Anyway, these rules only really apply to the consistent
Arpeggio types like the CS1x's Up/Down patterns. If you are
planning to use more noise orientated sounds or special
effects, feel free to experiment as much as you want. After
all, if it sounds right, use it.

Fun to the power of 15!

If all this leaves you cold, you clearly haven't heard the
CS1x's 15 special Arpeggio types! First a quick note: all spe-
cial types don't lend themselves well to triplet rhythms. The
best results are achieved with a 4/4 beat and a resolution of
1/16, 1/8 or 1/32.
No doubt, a lot can be achieved with these ready made
sequences, especially when you have just run out of good
ideas. But what exactly is happening here? In order utilise
these 15 Arpeggio types more effectively you will need to
aquaint yourself with each of their properties.
Put simply, the special Arpeggios add fi lter and pan posi-
tion modulation as well as more complex stepping of rhythm
and dynamics to the more straight forward Up/Down Arpeg-
gios. Chord notes, their number and octave position however
are resolved differently from what you might expect. For
example, playing a four note chord with some Arpeggio
types will result in only two notes being played in different
octaves. We will demonstrate the properties of the special
Arpeggio types with a few exercises. Let's use a systematic
approach and start with the fi lter.
PERIMENT:
Select Performance TP065 and play any single note. Can
you hear the fi lter modulation already? Well no, of course
not. Don't worry, we are not trying to catch you out; we
simply wish to show you that the fi lter frequency has to be
set correctly in order for the fi lter modulation to have any
effect. All you need to do is turn the Cutoff knob anti-clock-
wise. Now you should hear the fi lter change across two bars:
the cutoff frequency rises during the fi rst four beats, then
drops during the second half at the same rate. This is due to
the Arpeggio Type "Techno-A"!
The CS1x however boasts a second type – "SweepLine":
here, too, the Arpeggio automatically modulates the fi lter
frequency, raising it after the third quarter, and then dropping
again after the third quarter of the second bar. Intrigued? Go
ahead, select Performance TP066 and see for yourself.
Of course you can always change the fi lter yourself in real-
time with the CS1x knobs. Dynamic Pan Positions are more
tricky. Never fear, the Arpeggiator will once again make your
life that little bit easier by providing types that take care of
distributing your notes in the stereo image. Here, too, you
will need to pay particular attention to the corresponding
sound parameters, as the modulation can be affected by the
unsuitable effect settings (e.g. an excessive "Chorus Send"
value) as well as the Pan Position function.
PERIMENT:
Using Performance TP067, hold the keys down for at least
two bars. As well as rhythmically distributing the held notes
the Arpeggio pattern "Techno-D" also loosens the rhythm
with pulsating left-right movements. This will breathe plenty
of life into your sequencer arrangement.
"Echo&Pan" is also a good alternative. Here, too, the Arpeg-
gio sequence infl uences the sound's Pan Position. To demon-
strate, try Performance TP068.
Things don't always run as smoothly as in these examples.
Sometimes you need to tinker a little to actually hear the Pan
modulations. For example, try getting these stereo move-
ments to work with Performance TP069! Have you discov-
ered how to do it yet? The key to success here lies with the
Variation effect: set "Var Send" to "On" for the fi rst Layer and
bathe in the full Arpeggio effect inclusive of Pan modulation.
There is much you can do with these fi lter and Pan modu-
lations. Nevertheless, the most noticeable property of the
special Arpeggios is doubtless their 'musicality',') supported
by individual rhythms, small dynamic shifts as well as the
chord note variations. Let's spend a little time on these
'dynamic' changes.
PERIMENT:
Let's examine Arpeggio "Echo&Pan" a little more closely.
As the name suggests, this type automagically produces
echo effects – mostly with the help of different key velocity
values. Play Performance TP070 with any sound you wish: its
volume audibly fl uctuates within a single bar. This process is
repeated every four beats. The same thing happens with
Arpeggio type "TekkEcho" (TP071). Although the Arpeggio
fi gure here is 8 beats long the dynamic pattern is the same.
You can observe this, for example, with the "BaseLineB"
type. Tip: if you like the Arpeggio's rhythmic and pan move-
ments, but aren't so keen on the dynamic variations, simply
set the Velocity Offset value to the maximum +63.
Let's go one step further and fi nally examine the musical
aspect. Let's look at how many chord notes the Arpeggiator
actually utilises. Particularly with respect to song production,
Arpeggio type
17