Yamaha CS1x Manual page 24

one thing that needs to be considered though: If you activate
the Variation effect for all Layers (VARI SEND=On) you can't
set the Chorus and Reverb intensities separately. In the real
world this is a small price to pay, but you should be aware of
this phenomenon nonetheless. With the aid of a little exer-
cise this will soon click into place.
PERIMENT:
Change the amount of Reverb (Rev Send) on Performance
TP100. Setting Layer1 to (say) 040 will automatically set this
value of Layer2 also. This doesn't happen if you disable the
Variation effect for either Layer1 or 2 (Off). Now Chorus and
Reverb levels can be set for each Layer individually. This abil-
ity to use different effect levels for different Layers helps to
develop impressive, multi-dimensional sounds.
Only Send Levels can be programmed at the machine itself
for the fi rst two effects, Reverb and Chorus. Things get more
complex with the Variation effect, which also offers Chorus
and Reverb types. Here each type's parameters can be exten-
sively programmed, and single parameters can even be con-
trolled in real-time. If, for example you wish to control the
Chorus or Reverb's "Dry/Wet" parameter, take the diversion
via the Variation effect.
It isn't clear which effect parameters are available for real-
time control without further documentation. We'd like to
point you at this point to the "Effect Parameter List" in the
manual's Appendix (page 49). On the CS1x the target
parameters are tightly coupled to the Effect programmes
and can't be manually defi ned. This list will show which
parameters can be real-time controlled (right hand column –
marked with a dot).
Next you will want to know which playing aid can be used
to control a Variation effect parameter. You have two options:
you will work with Knob3 fi rst and foremost by setting
"ASIGN=VariContrl". Please remember that unlike Knob6
you can't limit the modulation intensity here. This may call for
a little delicacy. You can also use the foot rocker pedal (FC
Vari EF) for real-time control.
So much for our little introduction. We will now bit by bit
sketch the most often used Variation effect types. More
extensive details can always be found in the manual.
(A) Delay
Next to Reverb and Chorus, Delay is one of the most
important effect types. The CS1x offers a choice of several
types. Each program delays the output signal in its own par-
ticular way.
PERIMENT:
You have called up Performance TP101. Just play a few
notes or chords ("staccato" would be best) and listen out for
the effect of the Delay. Now repeat this for the other Delay
types – you will soon see how each effect reacts.
Although Delay effects are most commonly used for solo
sounds, studio professionals also have another application
for them: you use the Delay to support the rhythm track. To
do this you have to carefully choose delay times that match
the song tempo. In practice you will end up having to re-eval-
uate the Delay times constantly. This little formula makes the
process a lot easier:
( )
DelayTime =
(
--------------------------- -
60
×
1000
)
Tempo
This result will work with quarter notes. To calculate for 8
beats per bar, simply divide by two, for half note beats mul-
tiply by 2 or divide by 4 for 16 beats per bar, etc.
By the by: Several of the BlueBook Demo Sequences also
use this trick. Take particular note of the effect programming
used in the second Arpeggio demo, or the sound example
"SweepRun". Both sequences use Delay rhythmically. You
should practice this a little so that you can use it, too.
PERIMENT:
Your mission, should you choose to accept it, is to re-
establish the correct Delay effect settings for TP012, so that
the signal is delayed in time with the Arpeggio tempo
(=120bpm). This is how we do it. You can work out the cor-
rect delay times with the above formula; it's best to choose
250ms (1/8) and 125 (1/16). Remember to consider the other
parameters, too. To begin with vary the Dry/Wet relationship,
which determines the intensity of the Delay effect. The Feed-
back Level (FB Lvl) also plays an important role. This param-
eter controls the number of repeats produced. Last but not
least you should experiment with the unique "Input Set"
function.
(B) Phaser
As the name suggests, the Phaser effect is created by peri-
odic phase shifting of the effected signal from the original
signal. This effect was especially popular in the 70s and was
used for many a Rhodes, string ensemble or electric guitar.
Today the Phaser is often applied to atmospheric pad sounds
and other types of synth sound.
A M P L E :
You can fi nd typical examples of this in the Tutorial Bank,
a string pad (TP103) as well as a digital synth sound (TP104).
The fi rst thing you will notice about both Performances is a
slow LFO movement; this can be accelerated by choosing a
higher frequency value (LFO Fq – Hz). The intensity of the
Phaser effect can be determined with three parameters –
LFO Depth, FB Level and of course Dry/Wet. Playing with
these values should give you a good handle on what each
does.
(C) Flanger
The Flanger effect too is based on periodic Phase modula-
tion. In principle the Flanger works more like a Chorus which
sends a programmable part of its effected signal back into
itself (Feedback Level). This results in the Flanger's charac-
teristic comb fi lter effect. Listen closely to the subtle differ-
ences between the Phaser and the Flanger, as they may at
fi rst sound very similar.
A M P L E :
Tutorial Performance TP105 demonstrates the use of the
Flanger with analogue synthesizer sounds. Devote some
time to all of its parameters. Carefully increase the LFO inten-
sity and vary the LFO speed (LFO Fq). Using the Feedback
Level to accentuate the comb fi lter effect is also very reveal-
ing. Setting a value of +83 or higher for the FB Lvl throws the
Flanger into feedback. The Feedback Level is also often
referred to as Resonance.
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