Yamaha CS2x Guide de dépannage télécharger pdf (Page 42)

Only Send Levels can be programmed on the machine itself for the first 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 extensively programmed, and single parameters can even be controlled 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 CS2x

the target parameters

are tightly coupled to the Effect programmes and can’t be manually defined. 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 Knob4

first and foremost by setting “ASIGN1=VariCntrl”. Please remember

that unlike Knob8 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 CS2x offers a choice of

several types. Each program delays the output signal in its own particular way.

EXPERIMENT:

You have called up Performance TP101. Just play a few notes or chords (“staccato” would be best) and listen 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: using 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-evaluate the Delay times con-

stantly. This little formula makes the process a lot easier:

Delay Time = 60 : Tempo x 1000

This result will work with quarter notes. To calculate for 8 beats per bar, simply divide by two, for half note

beats multiply by 2 or divide by 4 for 16 beats per bar, etc.

By the way: Several of the SilverBook 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. Practice this technique a little, it will come in handy sooner or later.

EXPERIMENT:

Your mission, should you choose to accept it, is to reestablish the correct Delay effect settings for TP102, so that the sig-

nal is delayed in time with the Arpeggio tempo (=120bpm). This is how we do it. You can work out the correct 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 Feedback Level (FB

Lvl) also plays an important role. This parameter controls the number of repeats produced. Last but not least, you should

experiment with the unique “Input Sel” function.

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Yamaha CS2x Guide de dépannage Page 42

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