Yamaha DX27 User Manual page 13

This is a relatively "thick" brass voice which is ideal for a "horn section" background.
VOICE 3: ALGORITHM 3 is used, but OP3 is left turned OFF (its output level is set to 0).
BACKING BRASS Thus we use the carrier, OP1, modulated by 2 modulators (OP2 and OP4). The
feedback loop on OP4 gives us the characteristic "edge" of the brass sound. To
see what we mean, try setting the FEEDBACK to 0 and playing the voice. We think
you'll agree that the maximum feedback setting of 7 produces the most brass-like
sound.
DATA NAME : BACK BRASS
DATE :
NUMBER :
PROGRAMMER:
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Note that in this case, the TRANSPOSE parameter is set to C2. This effectively
lowers the overall pitch of the keyboard by one octave. This is done to provide a
more useful brass range—from low tuba-like tones up to a realistic trumpet
range—without having any unnatural "squeaky" tones at the top end of the key-
board.
Vibrato is virtually essential to the production of a realistic brass sound. In this case,
the MODULATION SENSITIVITY, PITCH parameter is set to 5 and the FUNCTION
mode WHEEL RANGE, PITCH is set to 50. This will allow a fairly deep vibrato
to be achieved with the Modulation Wheel. You might like to experiment by adding
a subtle automatic delay vibrato using the LFO PMD and DELAY parameters.
The PITCH BEND RANGE is set to 7, giving you a pitch bend range of a fifth, up
or down.
Since the D2R EG parameter is set to O for all operators, pressing the sustain
footswitch will hold all notes played until the pedal is released. This is great for
effects such as adding one brass note at a time to form a complete chord.
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