Yamaha CS2x Anleitung zur Fehlerbehebung PDF herunterladen (Seite 16)

The Analog Workshop: Sound Creation Explained

The parameter structure of the CS2x is largely based on analogue synthesis. The following step-by-step

guide will serve as an introduction to the analogue building blocks used in the CS2x.

Our tips and tricks can be applied not only to analogue synthesis, but all kinds of tone generation. Naturally,

we can’t cover every possible detail of analogue synthesis.

Before we begin, a quick note about the fundamental differences between traditional analogue parameters

and those found on your CS2x. In contrast to analogue synthesisers, oscillators on the CS2x consist of com-

plete timbres with filter, envelope and LFO settings (Material Voices). Therefore, any parameters that you set

are “offsets values” to the settings used in a particular sound, in other words the parameters you set may

appear to audibly contradict the displayed values or Knob positions. As always, let your ears decide.

Please note:

although the following text refers to the analogue synthesizers’ classic sound components like

VCO, VCA or VCF, they are of course implemented digitally in the CS2x.

Sound Central – The Oscillator

The heart of the classic synthesizer is the oscillator, or VCO (Voltage-Controlled-Oscillator). The oscillator

provides the raw waveforms, which in the CS2x consist of samples with stabile tuning. Usually these sam-

ples consist of sawtooth, triangle and square waves, as well as several pulse modulated waves. The VCO

also controls the pitch of its wave. Coarse tuning is performed in semi-tone steps (Note Shift), fine tuning in

cent steps (Detune), LFO’s or envelope generators are also frequently used to modulate the pitch of the

oscillator.

This also applies to the VCA, which is responsible for amplifying the oscillators’ audio outputs so that you

may hear them. The CS2x Volume parameter is the equivalent of the VCA.

Picture the CS2x’s four Layers as four separate VCOs. Each oscillator’s waveform can be selected using the

Bank and Program Change commands. As the CS2x doesn’t provide for Material Voices with pure synthe-

sizer waveforms, it would be necessary for you to laboriously create unfiltered pulse and sawtooth waves…

don’t worry, we have taken care of this rather dry and long-winded task: you will find many variants on the

classic synthesizer waveforms in the first dozen memories of the Performance Tutorial Bank

. You may of

course employ any Performances as an “Init Voice”, as a reference sound to browse through the Material

and XG voices, or simply to practice on. By the way, if you haven’t already injected your CS2x with our addi-

tional sound data (TUTORPFM.MID), you should do so now (see section “Performance Bulk Dumps”). You

will not be able to successfully complete our Analogue Workshop without it.

Let’s begin with a simple but immensely useful example: if you are using two or more oscillators to generate

your sound you should always detune each oscillator a little using the Detune function. This single parameter

can be used to liven up your sound. To hear this effect for yourself, try altering the Detune parameters of two

CS2x VCOs.

EXPERIMENT:

Select Performance TP001. Both of this sound’s oscillators are set to exactly the same frequency, resulting in a some-

what “flat” sound. Now change VCO1’s Detune parameter to a negative value, and VCO2’s Detune to the equivalent pos-

itive value, e.g. -2.00 and +2.00. Feel free to experiment with other values. Notice how these contrasting frequencies

affect your sound. Be careful however not to detune just one of the VCOs (for example 0 and +4,00), as this can ruin the

overall tuning of your sound! The two Detune values should always cancel each other out when added together. By the

way, some Performances (namely TP003 or 005) use this Detune effect already.

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