Yamaha DX27S Kullanıcı Kılavuzu - Sayfa 4

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2. SETTING THE CARRIER

OUTPUT LEVEL(S)

3. INITIAL MODULATOR

OUTPUT LEVEL SETTING

4. CREATING

THE

"BASIC" VOICE

5. SETTING THE CARRIER

AND

1st MODULATOR

FREQUENCY RATIO

6. INITIAL CARRIER EG

SETTING

7. INITIAL MODULATOR

EG SETTING

8. FINE MODULATOR

OUTPUT LEVEL SETTING

The initialized output level setting for OP1

is 90. This is sufficient when

using

ALGORITHMS 1 through 4 since OP1 is their only carrier. With other algorithms,

however, it is best to start by setting the output level of all carriers to 90.

You will find that for most voices, the modulator output levels between 60 and

75 are the most frequently used. It is best, therefore, to begin programming by setting

the output levels of all modulators somewhere Wwithin this range.

It is best to concentrate on programming just one "part" of a voice at a time. For

example, if you're working with ALGORITHM

1, turn OFF the 2nd and 3rd mod-

ulators (OP3 and OP4), and concentrate on creating the basic voice using just the

carrier and 1st modulator. If you choose ALGORITHM

5, start with either of the

stacks (OP1 and OP2, or OP3 and OP4) and turn OFF the other two operators.

The other operators can be turned back ON later to refine and finish the voice.

In most cases, the carrier frequency ratio in single-carrier algorithms (1 through

4) will be set to 1.00, since this will produce standard keyboard pitch. With mul-

tiple-carrier algorithms, however, the carriers may be set at different frequency ratios

to create organ-coupler type effects, or voices with two or more distinct frequency

components.

The modulator frequency

ratio in relation to the carrier frequency determines the

timbre of the voice. For example, a carrier/modulator ratio of 1:1 (i.e. carrier = 1.00,

modulator = 1.00) produces a sawtooth-like waveform, and a carrier/modulator

ratio of 1:2 (i.e. carrier

= 1.00, modulator = 2.00) produces a square wave. This

is only a general guideline, and the actual results depend on the amount of mod-

ulation (modulator output level) applied to the carrier. Fractional ratios (e.g. 1:1.73)

can produce extremely complex waveforms that frequently have a "metallic" sound.

You'll have to experiment to find the frequency ratio that produces a timbre which

is close to the one you want.

Now you're ready to set the basic volume envelope ("shape") of the voice. Start

with the carrier EG parameters. For more details on the EG parameters refer to the

discussion on the Envelope Generators in the "The Basics of FM Synthesis" section

of the owner's manual.

In many cases, it is sufficient to copy the carrier EG parameters to the modulator

using the EG COPY function. This gives a fairly constant timbre over the entire length

of the note. If the timbre of the voice is to vary with time, the modulator envelope

can then be further modified. The most common form of timbre variation is where

the modulator comes

in strongly with the attack of the note (producing a rich

harmonic structure) and then decays to a lower level as the note is held. This type

of timbre variation is common with plucked and hammered strings as well as with

brass and horns. The reverse (i.e.

modulation gradually increases as the note is

held) creates more electronic synthesizer type sounds.

Once the basic EG parameters have been set up, go back and readjust the output

level of the modulator to "fine tune" the timbre of the voice. This will probably

have to be done at several stages throughout the voice programming

process.

Whenever you feel the timbre is not quite right, try readjusting the modulator output

level.

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