Yamaha DX11 Bedieningshandleiding - Pagina 11
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saw up
(saw
tooth
wave)
^---^
squ^e
(square
wave)
1
1
triangle
(triangle
wave)
^-x^
S/Hold
(sample
&
hold)
nT^flArUi
(2)
Speed (0-99)
At
a
setting
of
35,
the
LFO
will
make
6.7 cycles
every
second,
and
at
99,
55
cycles
every second.
(3)
Delay
(0-99)
f
In
many
acoustic instruments, the vibrato
begms
a
short
time
after the
note begins sounding. This can be simulated
using the
LFO
Delay,
which
is
adjustable
from
(no
delay)
to
99 (about
10 seconds).
(4)
Sync
(off/on)
When
Sync
is
on,
each note
will
reset the
LFO
wave
to
its
beginning.
For
example,
the
Saw
Up
wave would
begin
again
from
the lowest position
at
the
beginning of
the
note.
When
sync
is
off,
the
LFO
wave
will
keep
repeating
regularly,
regardless
of notes being played.
continues
fcgaidless of
key
on
(changes continuously.)
A
A
Key
Key
[5]
Sensitivity
This
is
where
you
set
the
sensitivity
of
the voice to
LFO
Pitch
Modulation, and
set
the
sensitivity
of each operator
to
incoming
LFO
and
other control
signals.
(1)
P
Mod
Sens.
(0-7)
This determines
the Pitch
Modulation
Sensitivity
(0—7)
of
the entire voice.
If
it
is
0,
there
will
be
no
pitch
mo-
dulation
(vibrato).
(2)
AMS
(0—3,
on/off
for
each
operator)
The
overall
AmpHtude
Modulation
Sensitivity
of
the
operators
is
adjustable
from 0—3, and
each operator can
be
set to
react to
LFO
Amplitude Modulation
(on)
or
not
(off).
For example,
if
the carrier
operators
were
sensitive to
LFO
amplitude modulation,
the
LFO
would
affect
the
volume
of
the voice (tremolo).
If
the
modulator
operators
were
sensitive to
LFO
amplitude modulation,
the
LFO
would
affect
the
tone of
the voice
(wah-wah).
(3)
EBS
(0
7
for
each
operator)
This
sets
the
EG
(envelope generator)
Bias
Sensitivity
of each operator.
EG
Bias
is
a control signal that directly
affects
the
output
level
of an
operator.
(It
has nothing
to
do
with
the
LFO.)
The
EG
Bias
you
set
here
can
be controlled
from
a
Breath Controller
or with After-
touch.
If
a
carrier
has
EBS,
the
EG
Bias
signal
will
affect
the
volume
of
the voice.
If
a
modulator
has
EBS.
the
EG
Bias
signal
will
affect the
tone o^
the voice.
When
programming
wind
instruments,
it
is
effective to
set
the
carriers to
an
EBS
of
7
and
set
BC
EG
Bias
to
99
so that
the
volume
will
depend
totally
on
how
hard
you blow
into the
Breath Controller
(see
p.
1
3).
Set the
modulators
to
a
lower value of
sensitivity,
so that the
tone
will
become
somewhat
sharper
as
you blow
harder. Setting
EG
Bias
Sensitivity
1
7
will
automatically lower
the
output of
the
operator by
0-
96dB
in
order
to give
it
"somewhere
to
go"
when
an
EG
Bias
signal
comes
in
from
the
Breath
Controller or
from
Aftertouch.
[4]
LFO
Depth
(1)
Pitch
Modulation Depth (0—99)
This controls
the
amount
of
Pitch
Modulation
that
will
be present regardless of
the
Function
Settings.
When
this
value
is
abtive
0,
the
LFO
will
always produce
some
Pitch
Modulation,
regardless
c>^
the position
of
the
Foot
Controller,
Modulation Wheel,
Breath
C^ontroller.
or
Aftertouch.
(2)
Amplitude Modulation Depth (0—99)
This controls
the
amount
of
Amplitude Modulation
that
will
be
sent to
each operator
regardless
of
the
Function
settings.
When
this
value
is
above
0,
the
LFO
will
always
send
some
Amplitude Modulation,
regardless
of
the
position
of
the
Foot
Controller,
Modulation Wheel,
Breath
Controller, or Aftertouch.
[6]
KVS
{0-7
for
each
operator)
This
sets
the
Key
Velocity
Sensitivity
of each operator.
Each
MIDI
Note
On
message
has
a Velocity
byte
that
tells
how
hard
the
key
was
struck.
If
an
operator has
KVS,
it
will
adjust
its
output
level
according
to the ve-
locity
of
the note.
If
a carrier
has
KVS,
strongly
played
notes
will
be
louder,
if
a
modulator
has
KVS,
strongly
played notes
will
have
a
sharper
tone.
Extremely
high
KVS
settings
will
make
the
voice
difficult
to
control,
and you
will
need
to
play quite strongly
to get
any sound
at
all.
Setting
KVS
1-7
will
automatically lower
the
output of
the
operator by
7
-16dB
in
order
to give
it
"somewhere
to
go"
when
you
play
strongly.