Yamaha S90 XS Editor VST S70 XS Editor VST Manual - Página 5
Procurar online ou descarregar pdf Manual para Teclado eletrónico Yamaha S90 XS Editor VST S70 XS Editor VST. Yamaha S90 XS Editor VST S70 XS Editor VST 12 páginas. Music production and performance
Também para Yamaha S90 XS Editor VST S70 XS Editor VST: Brochura e especificações (2 páginas), Manual de instalação (6 páginas), Brochura e especificações (6 páginas), Manual (4 páginas)
Imprimir página
individual parameters and effect types. On page
36-43 of the DATA LIST you will see a list of the
different Effect Categories and Effect Names. It
will list the parameters available in a convenient
form to see them all and the ranges of control.
This is worth a look. The TABLE Number heading
is for those that need to know the exact value of
each setting – refer to the charts on pages 44-51
for exact values for each parameter setting.
Basically settings are made to taste (by ear).
However, knowing what is subjective and what is
objective is what separates a bogus mix from a
brilliant mix.
So much of working with sound is subjective,
meaning it is up to you, but some of it is very
objective, meaning there actually is a right and
wrong. It's true. Knowing the difference between
these two concepts is the key to greatness in the
audio business. For example, when routing signal
to an effect, do you return more than you send or
send more than you return?
Gain staging is the objective part of audio.
Making sure that you work on the side of SIGNAL
when dealing with the SIGNAL-to-NOISE ratio.
The rule of thumb: Send up to the limit of clean
audio and return just enough to taste. However,
often your SEND amount determines how much
effect you are going to get. So you also have to
consider balancing how much SEND compared to
another channel. This is very true in situations
where sounds are going to share an effect (like
the System Effects). So there are no cut and dry
rules – you have to find the balance between the
objective and the subjective.
If, however, you are sending signal to an effect
processor that you have configured as an EQ, how
much signal do you send? This is not subjective,
there is a right and wrong. Send all the signal
through the EQ. If you were to return dry signal
from certain routing scenarios you can cause
phase cancellation – a situation where you will
be
adversely
affecting
Knowing what you are doing with effects can
mean confident utilization with stunning results.
Just experimenting willy-nilly can lead to bogus
results. Of course, you could eventually wind up
with something useable but the old saying:
"Knowledge is power" does apply here. In most
instances the XS will not let you get into too much
trouble – sometimes you are prevented from
controlling certain things because it would be
illogical or lead to bogus results ...those decisions
are made by the designers. For example, you will
see where a subjective return is allowable: a
DRY/WET balance parameter. This is so that you
can mix your amount of effect return, but from a
device like an EQ there is no DRY/WET balance
the
signals
integrity.
control parameter, because the design will not let
you make that "mistake". This is a good thing.
As you will learn, not all parameters are available
for real time control – again, a design decision is
made to prevent unfortunate illogical assignments
that would cause sonic problems.
The Processors
We often get asked about the quality of the Effect
processing and it should be stated that the
introduction of the VCM and some of the other
new effect types found in the XS-series, has
elevated the quality of processing found in
keyboard and rack mounted synthesizers to a
very high level. These effects have trickled down
from the very high-end Yamaha digital consoles
that are on tour with most every major act.
Undoubtedly if you have attended any concerts in
the last 10-15 years you have heard Yamaha
effect processing in action.
The Effect processors are divided into SYSTEM
Effects
(Reverb
INSERTION Effects (applied within the Voice
architecture); MASTER Effects (applied overall
just before the final output).
The REVERB processor has 9 main algorithms
available and 42 Presets to use as starting points.
When working with a reverb algorithm you can
select by size environment: REV-X HALL, R3
HALL, SPX HALL, REV-X ROOM, R3 ROOM, SPX
ROOM,
R3
PLATE,
SIMULATOR. Then from there you can tweak it to
match your specific needs. In general, you will not
know
what
is
experiment with the effects. Resist the urge to do
nothing. It takes no effort to accept the preset as
it is – you may find by changing a few things you
can get exactly what you like.
Yamaha was the first company to introduce DSP
effects that were based on the actual dimensions
of the great concert halls of the world. A "HALL" is
typically a large concert environment. The REV-X
is the most recent development in a long line of
Yamaha reverberation chamber algorithms and is
the same effect found in the SPX2000 processor
and in the high-end digital touring consoles from
Yamaha. The Pro R3 was one of the first high-
resolution digital studio reverbs and enjoys a
stellar reputation in the field. The Yamaha SPX
introduced the project studio digital reverb back in
the 1980's.
Reverb Types that are "ROOMS" bring a definite
size factor component to the space. A "STAGE" is
usually
a
loud
"PLATE" is a brilliant emulation of the old 10-foot
boxes that used to contain these reverb chambers
5
and
Chorus
processors);
SPX
STAGE,
and
sonically
possible
until
reverberant
environment.
SPACE
you
A