Yamaha CS2x Anleitung zur Fehlerbehebung PDF herunterladen (Seite 33)

Of course you can always change the filter yourself in real-time with the CS2x knobs. Dynamic Pan Positions

are more tricky. Never fear, the Arpeggiator will once again make your life that little bit easier by providing

types that take care of distributing your notes in the stereo image. Here, too, you will need to pay particular

attention to the corresponding sound parameters, as the modulation can be affected by unsuitable effect set-

tings (e.g. an excessive “Chorus Send” value) as well as the Pan Position function.

EXPERIMENT:

Using Performance TP067, hold the keys down for at least two bars. As well as rhythmically distributing the held notes

the Arpeggio pattern “Techno-D” also loosens the rhythm with pulsating left-right movements. This will breathe plenty of

life into your sequencer arrangement. Arpeggio type “Echo&Pan” is also a good alternative. Here, too, the Arpeggio

sequence influences the sound’s Pan Position. To demonstrate, try Performance TP068.

Things don’t always run as smoothly as in these examples. Sometimes you need to tinker a little to actually hear the Pan

modulations. For example, try getting these stereo movements to work with Performance TP069! Have you discovered

how to do it yet? The key to success here lies with the Variation effect: set “Var Send” to “On” for the first Layer and bathe

in the full Arpeggio effect inclusive of Pan modulation.

There is much you can do with these filter and Pan modulations. Nevertheless, the most noticeable property

of the special Arpeggios is doubtless their “musicality”, supported by individual rhythms, small dynamic shifts

as well as the chord note variations. Let’s spend a little time on these “dynamic” changes.

EXPERIMENT:

Let’s examine Arpeggio “Echo&Pan” a little more closely. As the name suggests, this type automatically produces echo

effects – mostly with the help of different key velocity values. Play Performance TP070 with any sound you wish: its vol-

ume audibly fluctuates within a single bar. This process is repeated every four beats. The same thing happens with

Arpeggio type “TekkEcho” (TP071). Although the Arpeggio figure here is 8 beats long the dynamic pattern is the same.

You can observe this, for example, with the “BaseLineB” type. Tip: if you like the Arpeggio’s rhythmic and pan move-

ments but aren’t so keen on the dynamic variations, simply set the Velocity Offset value to the maximum +63.

Let’s go one step further and finally examine the musical aspect. Let’s look at how many chord notes the

Arpeggiator actually utilizes. Particularly with respect to song production, the CS2x offers a choice of very

special Arpeggio types. Their names will already give you clues as to how these may be put into action.

EXPERIMENT:

Begin by selecting Performance TP072. Playing (for example) a C major triad in its basic configuration will give you a typ-

ical bass figure. Hardly surprising when you take a look at the Arpeggio type in the display: “BaseLineC”! Now take a

closer listen. The Arpeggiator plays only root notes and 3rds! Not all your held notes are being played. The Arpeggiator

“filters” the notes depending on the context and what its sequence is supposed to do – just as well! This type, like the

other “BaseLine” types for example simply ignores your chord’s 5th.

There are some other types that also don’t translate your chords in the way that you might expect. Arpeggio types

“SweepLine” and “PulseLine” as well as “SyncopaA” or “Techno-C” for example accept only chords with up to three

notes, in other words a 7th or even a 9th is simply ignored. Alternatively you can reduce a 7th chord to three notes by

leaving out the chord’s 5th. Use Performances TP073 and TP075 as a starting point to explore the polyphony and overall

structure of each Arpeggio type.

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Yamaha CS2x Anleitung zur Fehlerbehebung Seite 33