Yamaha CS2x Průvodce řešením problémů stáhnout pdf (Strana 35)

The last SFX Arpeggio is a percussive sequence which can be applied universally. Particularly nice here is

Pan Position modulation.

EXAMPLE:

Select Performance TP080 and, as in the previous examples, play only a single note. The sound’s main character is pro-

vided by the Flanger effect. This effect is responsible for the regular up and down movements that you will have noticed

immediately. The Flanger by the way is also sometimes referred to as the “Jet Effect”. Pay particular attention to the rela-

tionship between the Flanger’s LFO speed and the Arpeggio tempo. With this too, many variation possibilities can be

achieved.

Feel free to experiment with the Arpeggio types and tempi of all these SFX examples. Utilizing the Hold function will save

you having to constantly re-trigger your Arpeggios.

Hard Chord Work

Furthermore you can use the integrated Arpeggiator for various chord break-up duties. Particularly, musical

sequences can be arranged intuitively with the special Arpeggio types, and here the same applies again; a

more unusual sound results in a more original Arpeggio.

Let’s however deal first and foremost with the traditional synthesizer sounds. In this area alone there are

thousands of possibilities to explore, all of which can be used effectively for your arrangements. To demon-

strate we have prepared two Performances.

EXAMPLE:

Performance TP081 consists of only one Layer, that is to say only one sawtooth wave. Of course you could always use

two detuned oscillators to give the sound volume. If this sound however is only to be used as an arpeggiated accompani-

ment, then one Layer should suffice. Doing so also helps keep the voice count low, which will benefit any multi-timbral

duties. Again, pay attention to the effects. Here, as with TP079, the delay is used rhythmically.

If you hold your chord down a little longer you will find that the Arpeggio generated sequence repeats after exactly two

bars. Here is a simple but efficient trick: vary the length of the sequence, i.e. trigger the Arpeggio after a quarter, a half or

a whole bar. This will shape your Arpeggio in ever more interesting ways and allow it to be used more distinctly.

Select the next Performance (TP082) to hear a classic Arpeggio sequence. A simple analogue sound is steadily arpeggi-

ated up and down over four octaves. Altogether this sound is fairly delicate and can thus be utilized for graceful as well as

frantic accompanying parts (ARP Subdiv 1/32). Intriguing effects can be achieved by varying the tempo during the

Arpeggio process – simply use Knob 4 (Assign1). This really is a special means of expression. You can now shape the

Arpeggio to any musical context (for instance to heighten chord sequences by stepping them chromatically up and down)

or to your own personal interpretation.

Sounds interesting – but can the Arpeggiator only be used for Synthesizer sounds? Well, actually no, even

traditional musicians get a great deal out of it. He/she may for example use it to create Tremolo effects for

acoustic instruments, like the mandolin or steel drums. “UpOct1” or “DwOct1” are the most appropriate

Arpeggiator types for this. Here’s a little exercise.

EXPERIMENT:

Consider Performance TP012 as a “Sound Init”. Now instead of the sine wave select Steel Drums (e.g. XG001/ #115)

and activate the Arpeggiator (the Arpeggiator type is already set correctly). All that’s needed now is a tempo between

200 and 240bpm; all entries have been made. Now play your Steel Drums, in thirds just like the original. If you are

pleased with the result, save your Performance. To add even more authenticity to the sound, try setting Assign1 to con-

trol the Arpeggio tempo as in our last example and gently vary the speed of the Tremolo with Knob 4.

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Yamaha CS2x Průvodce řešením problémů Strana 35