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Split Performances

Musicians that don’t work with “Keyboard Splits” are an endangered species. The advantages are clear: you

can play several sounds spread across 61 keys without having to switch Performances. This is how it’s done: -

The programming effort required here is minimal and can be mastered effortlessly, even by beginners. Sim-

ply call-up the “Note Limit

” function and determine the lower (LIMIT LOW) and upper (LIMIT HIGH) end

points for the relevant Layer. As a rule of thumb you will usually only split two sounds across the keyboard, a

pad for your left and another sound for your right hand. A little tip: always stick to the same split point, e.g.

middle C (C3). If you do need to use different keyboard splits once in a while, you should make a note of it in

the display (e.g. “Pad/Pno-F3”).

Set out below are four Performances that we have put together to demonstrate the most important aspects

of sound shaping for live performance.

EXAMPLE:

Performances TP117-120 contain typical live performance split sounds. The split point is always at C3. The sound

assigned to the upper part of the keyboard can be played from this point onwards. We have programmed a combination

of pad and E-piano sounds for our first example (Split-1), the second consists of a CP70 piano as well as an organ sound

(Split-2). You can quickly change the sounds if you wish using Bank/Program changes. Also pay attention to the effect

settings.

Now let’s look at the purpose of controller “Assign2”. As we already know, it is often necessary to change the

volume levels of your sound during a live performance, either manually or with a foot pedal. Let’s say you

decide that your pad sound is way too loud. This is the trap split sounds fall into: if you change your volume

with the Master Volume control, all your split sounds will be quieter and not just the pad sound. This can be

a real nuisance, but never fear, there is a solution:

EXAMPLE:

A particularly elegant solution can be found in the use of Knob8. In Performances TP117/119 it is programmed to control

the volume of your left hand sound only, independently of the right hand sound, i.e. only Layer1’s level is affected. To be

exact, you can only use the knob to decrease the level; turning it clockwise has no effect. If however you want to be able

to increase the level as well, you need to ensure that the Layer’s volume is not set to the maximum 127. As you can see,

when using modulation, you need to take all the corresponding parameters into account.

Another dicey subject is the transposition of sounds during a live performance. A piano sound especially

benefits from this ability as even 61 keys aren’t always enough to fully exploit a piano’s tonal possibilities. To

begin with you can work with the CS2x’s Shift and PART/LAYER keys to transpose an entire octave by up to

+/-3 octaves. Once again, this is more tricky with split sounds where you would usually only want to trans-

pose a single sound and not the entire Performance.

EXAMPLE:

Here too you can make good use of the “Assign2” controller. Turning Knob8 clockwise in Performances 118/120 trans-

poses the left hand sound up by an octave, whilst the right hand sound remains unaffected.

The Assign2 value of course doesn’t correspond to the Note Shift parameter. As we have already pointed out, you

should always consider the relationship between the modulation intensity and its starting value. Always orient yourself

first by the Note Shift value. If, for example it’s set to +00 you should use a modulation value of +17 to enable a shift of

exactly two octaves. If the Note shift value however is set to +12, you should use a modulation value of +25. You can try

this out with Performance TP118.

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Yamaha CS2x Anleitung zur Fehlerbehebung Seite 46