Yamaha DX27S Kullanıcı Kılavuzu - Sayfa 13
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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:
и
2088
_
02-08804
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MODULATION SENSITIVITY
VELOCITY
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KEYBOARD SCALING
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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.
12