Yamaha CS2x Anleitung zur Fehlerbehebung PDF herunterladen (Seite 19)

Dynamic Helpers – Envelopes

All the sound components we have looked at so far have been “static” in their effect, that is to say that they

haven’t affected a sound differently over time. Enter the Envelope Generators of the CS2x. Envelope gener-

ators control Volume (AEG), the Filter (FEG) or the Pitch of your sound (PEG). An envelope follows the tradi-

tional ADSR model:

Attack controls your sound’s fade-in time, Decay determines the time it takes to reach

the Sustain level, S

ustain controls the volume your sound will settle at whilst holding down a key, and finally

elease sets how long your sound will ring out after releasing the key. The pitch envelope however also adds

Intensity and Level parameters to the standard envelope model (PEG Init, Attack and Release Level).

Lets start with the Filter Envelope:

It is responsible for varying the filter’s cutoff point over time, and, as men-

tioned above, crucial in determining the contour of your sound. More often than not, envelopes with slow

fade-out times are used. This is achieved by dropping the filter’s cutoff point to the programmed FEG Sustain

Level. In our example sound (TP016) this “dropping” happens quite quickly. This is just perfect for bass or

sequencer sounds, which need to be “tight”. As a rule you should pay a lot of attention to your envelopes –

especially within song arrangements. You will find that the decay times used have to “gel” with the rhythmic

structure of a piece – a tricky piece of engineering, which sadly is often overlooked. For example, a bass

sound that dies away too quickly will not “support” the rest of your arrangement properly. In extreme cases

this will leave “holes” which can effectively kill the groove of your piece. Using an overly long decay time on

the other hand can also cause problems; it may smear a delicately composed rhythmic line. As always, a lit-

tle delicacy is required. Make sure you aquaint yourself with the properties of envelopes early on.

EXPERIMENT:

Vary the decay time of Performance TP017 to see how quickly filter frequency really drops. Try setting the FEG Decay

Time parameter initially to +10, then -15, and finally -35. Important in this also is the envelope’s FEG Sustain Level. Set-

ting this to its minimum -63 level will result in the note completely fading out. By the way, this sound has two Layers, and

so you will need to edit both oscillators” values simultaneously – this is achieved by holding down the Octave Shift key

(found on the top left above the display) whilst changing any parameters.

In stark contrast, the next filter sound (TP018) typifies the classic “sweep” characteristic, i.e. the resonation

filter’s frequency rises gradually (Attack Time=+55) and then drops sharply (Decay Time) to the level set by

Sustain Level. Another variation on this theme is the third envelope type (TP019). Here, the filter frequency

drops a little during the initial stages, and then rises fairly quickly to its maximum value (FEG Sustain

Level=+63). Feel free to explore the properties of this example’s envelope more fully. You may also try Preset

Performances 047 and 048 for further experimentation. These will let you compare different decay times for

bass sounds.

Unlike the filter envelope, the Amplitude Envelope Generator

(AEG) affects a sound’s volume level, and is

therefore also referred to as the Volume Envelope

. The scenario where volume levels stay the same

throughout the various stages is often described as an “organ envelope”. The Tutorial Bank has many exam-

ples of this type of sound (e.g. TP001 to TP010). Because of this property, many of the sounds show the

effects of the filter envelope more clearly (e.g. TP018/019).

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Yamaha CS2x Anleitung zur Fehlerbehebung Seite 19