Yamaha CS2x Průvodce řešením problémů stáhnout pdf (Strana 34)

Effects – used in a different way

Enough of these lengthy experiments. With the help of a few practical examples, we now would like to show

you the Arpeggiator’s many musical day-to-day applications.

The interplay between sounds and Arpeggio sequence is an important area that we haven’t even touched on

so far, but therein lies the art of Arpeggio playing! An Arpeggio that triggers hundreds of different sounds will

produce just as many different results, and when used with especially flexible instruments like the CS2x, they

open up a whole world of possibilities.

This is particularly emphasized when you consider that musicians used to be stuck with analogue synthe-

sizer sounds. Many interesting tonal shades could of course be taken from their fast envelopes, heavy ring

modulators or powerful noise generators, but it was sheer Utopia to envisage being able to control all imag-

inable samples with an Arpeggiator. Simply put, the CS2X blows the tonal “corset” to smithereens, and with

it all convention and ability to imagine the things that can be realized with an Arpeggiator.

Therefore, let’s start with sounds that you might never even have dreamed of using. Several years ago, when

sampling technology finally become affordable, it’s performance wasn’t restricted to your everyday “natural”

instruments like piano and strings, but extended to very specialised effects generated by a Sampler, which

was particularly popular in the studio scene and could thus be heard in numerous productions. One of the

most well-known of these was the “Mickey Mouse” effect. So why not use the Arpeggiator to create an

unusual effect?

EXAMPLE:

The following five Performances really should convince you that this subject is seriously worth looking into. So, dial up

the first sound example TP076 and play it with just one note.

If this doesn’t even vaguely make you smile, select the next Performance. This too is a special kind of effect, which really

doesn’t require further commentary. Seriously though, don’t you think it would be very “original” to use these little

sequences with, or as the basis of one of your songs?

The next three Arpeggiator sounds are much easier to integrate into a sequencer arrangement. For example

you could use them to program unusual rhythm tracks. As mentioned before, the Arpeggio as well as its

tonal aspect play an important role in this.

EXAMPLE:

Let’s deal with Performance TP078. It is based on the SFX voice “Burst” and has deliberately been transposed another

two octaves (Note Shift=+24) – this is where the “Aliasing Effects” come to the fore. If you have never come across this

term before, here is a quick explanation: Aliasing errors occur when a sound’s frequency is greater than half that of the

sampling frequency used to digitise it. The result is a frequency differential that corresponds exactly to the difference

between the original frequency and the sampling frequency. Tonally speaking, Aliasing results in drastic distortion, which

can however be used very effectively in sound development with ROM-Sample-Synthesizers, especially with the aid of

the Arpeggiator.

Perhaps you have thought about using the CS2x Arpeggiator to imitate wave sequencing – well, you can.

EXAMPLE:

The Arpeggio found in TP079 is straight from the Wavestation. The basic sound, as in our last example, was shaped pri-

marily with the aid of the pitch envelope. Equally important are the effects, especially the Delay (VARY TYPE). The delay

times take their cue from the Arpeggiator tempo. A little tip for fiddlers: try to work with keyboard splits if you want to cre-

ate even more interesting wave sequences. Assign Material voices that complement each other well for each of the four

Layers.

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Yamaha CS2x Průvodce řešením problémů Strana 34