Yamaha DX200 Spécifications télécharger pdf (Page 51)

Chapter 10 EG Basics

39 Going negative — with FEG Depth

As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of

FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound.

1 First, get everything set up with the following settings:

EG [SELECT]........... to “ALL” (both FEG and AEG)

[ATTACK] ................ to around 2:00 (90 - 100)

[DECAY].................. to around 1:00 (80)

[SUSTAIN] .............. to around 3:00 - 4:00 (100 - 120)

[RELEASE].............. to around 1:00 - 2:00 (80 - 90)

[CUTOFF]................ to around 2:00 (100)

[RESONANCE] ........ to around 2:00 (70)

2 Finally, set the [FEG DEPTH] knob to 7:00 (-128) — the maximum negative

value.

3 Now, play several single notes, slightly apart, and listen for the very slow

attack and the long sustain. Hear how the ﬁlter slowly sweeps and grows

with the sound?

A negative FEG Depth setting reverses the FEG operation — producing a ﬁlter sweep effect that dips down

instead of peaks. This means the sound gets softer and more mufﬂed, until the end — when the ﬁlter

sweeps back up again.

Try these, too

• Experiment with higher Cutoff and Resonance settings than the ones shown above.

• Tweak the FM Synthesis controls — Algorithm, Modulator, Noise Oscillator, and the related

knobs. These give the Filter a wealth of high harmonics to work with, and make the sound

more interesting. (See Tips 41 - 46.)

• For even greater degrees of weirdness, try some long Portamento settings, too (for example,

around 90 - 110).

1 2 ... 46 47 48 49 50 51 52 53 54 55 56 ... 151 152

Pas de commentaire

Yamaha DX200 Spécifications Page 51