Yamaha CS2x Anleitung zur Fehlerbehebung PDF herunterladen (Seite 21)

Let’s finally take a look at the Pitch Envelope. Unlike the FEG and AEG, this envelope is predominantly used

for specialist applications, and as such is rarely found on analogue synthesizers. Despite this, the PEG has

many more uses than you may at first suspect. To prove it, a number of examples… first a little practice to

get you fully aquainted with this particular envelope.

EXPERIMENT:

Call up Performance TP026. We’re aiming to “drift” the first oscillator gradually away from VCO2 (whose pitch stays con-

stant). Apply the following settings to the Pitch Envelope (Layer1): our sound is supposed to drop after a predetermined

time (PEG Atk Tm=+58) by a quarter note (PEG Atk Lv=-27), and then casually restore its pitch (PEG Dcy Tm=+30).

When releasing the key, our sound shall then jump upwards (PEG Rel Tm=-63) by another quarter note (PEG Rel

Lv=+27). If you want to hear your sound “howl” rather than jump, try setting PEG Rel Time to +40. By the way, if every-

thing went as planned your sound should resemble Performance TP027 – try it!

All this illustrates nicely how siren-type effects can be produced without the aid of the more obvious LFO.

More often than not though the pitch envelope is used in the attack phase of the sound, particularly when

imitating acoustic instruments. Pretty obvious when you think about it; the pitch of such instruments is still

volatile during the plucking of a string or the initial blowing of a flute or trombone. Use of this subtle effect can

also give synthesizers a more natural sound.

EXAMPLE:

Obvious examples are brass sounds (TP028). Here, the initial “tearing” at the sound’s pitch delivers the right feel. Ideally

this change in pitch should be as inconspicuous as possible, but there is of course a time and place for drastic pitch

envelope surgery to produce those classic “pitch warp” effects, like sound TP029. Tip: when using two VCOs, try setting

the first oscillator’s PEG to a positive value, and the second oscillator’s PEG to a negative one – after all, variety is the

spice of life!

Have you ever attempted to program certain drum sounds or special effects using synthesizer waveforms?

Or how about using the pitch envelope to transpose a multi-sample? Let’s take a look at some examples.

EXAMPLE:

Take a boring sinewave and combine it with a simple PEG envelope, and hey presto – instant E-toms (TP030)! Another

popular trick when using sample ROM synthesizers is the transposition of entire multi-samples – using the pitch enve-

lope!

Transposing a Layer up or down this way by 12 semitones can completely change the basic character of a sound. Trans-

posing down can lure Mellotron-like sounds from your CS2x – for an example try the string sound TP031, which can be

enhanced still further by the use of filters or the effects. Shifting this sound’s pitch upward however will produce a har-

monically richer tone (TP004/005).

It’s just as easy and simple to conjure up impressive slide effects (TP032), a useful addition to any synth bass sound.

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Yamaha CS2x Anleitung zur Fehlerbehebung Seite 21