Yamaha CS2x Anleitung zur Fehlerbehebung PDF herunterladen (Seite 43)

(B) Phaser

As the name suggests, the Phaser effect is created by periodic phase shifting of the affected signal from the

original signal. This effect was especially popular in the 70s and was used for many a Rhodes, string ensem-

ble or electric guitar. Today, the Phaser is often applied to atmospheric pad sounds and other types of synth

seconds.

EXAMPLE:

You can find typical examples of this in the Tutorial Bank, a string pad (TP103) as well as a digital synth sound (TP104).

The first thing you will notice about both Performances is a slow LFO movement; this can be accelerated by choosing a

higher frequency value (LFO Fq – Hz). The intensity of the Phaser effect can be determined with three parameters –

LFO Depth, FB Level and of course Dry/Wet. Playing with these values should give you a good handle on what each

does.

The Flanger effect too is based on periodic Phase modulation. In principle, the Flanger works more like a

Chorus which sends a programmable part of its effected signal back into itself (Feedback Level). This results

in the Flanger’s characteristic comb filter effect. Listen closely to the subtle differences between the Phaser

and the Flanger, as they may at first sound very similar.

EXAMPLE:

Tutorial Performance TP105 demonstrates the use of the Flanger with analogue synthesizer sounds. Devote some time

to all of its parameters. Carefully increase the LFO intensity and vary the LFO speed (LFO Fq). Using the Feedback

Level to accentuate the comb filter effect is also very revealing. Setting a value of +63 or higher for the FB Lvl throws the

Flanger into feedback. The Feedback Level is also often referred to as Resonance.

(D) Auto Wah

The wah-wah effect is commonly used with various guitars. As a rule, it is controlled dynamically with a foot

rocker pedal. It actually consists of a particular low-pass filter whose cutoff frequency is periodically, i.e.

“automatically” varied. The Auto Wah can be put to many uses with the CS2x.

EXAMPLE:

As a keyboard player you may wish to use this effect for Clarinet sound for example. To hear this for yourself, try out Per-

formance TP106. In this case the sound is shaped further still with the dynamic use of the CS2x’s Filter, which explains

its lively play response. Of course you can apply the Wah effect similarly to guitar sounds. Alternatively it can be used to

create EXPERIMENTal sound collages. Consider the Wah as a second filter that is even capable of resonance. A good

example of this is Performance TP107.

(E) Amp Simulation

This effect too is a typical guitar effect. It essentially imitates the sound of an amplifier combo. The CS2x

even allows you to choose between different amp characteristics (Transistor/Valve). On top of this there’s a

low-pass filter and the parameter “Drive” which controls how the input stage is overdriven. The entire setup

requires a little practice which will pay off in the end.

EXAMPLE:

A common use of this effect is found in Performance TP108. You may not even perceive the effect on the first listen. This

will quickly change when you disable the Variation effect (VARI SEND=On). The basic sound now sounds much more

synthetic and carries an entirely different frequency signature.

Naturally you aren’t limited to string instruments. Other sounds too can use this type “effectively”. Organ sounds for

instance can use a little dirt. A good example for this is Performance TP109, which without the amp simulation would

sound too “digital”.

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Yamaha CS2x Anleitung zur Fehlerbehebung Seite 43