Yamaha CS2x Průvodce řešením problémů stáhnout pdf (Strana 53)

As you can see, only Bank and Program changes need to be performed on the sequencer. These Assign-

ments can be made in UTILITY - ASSIGN CTRL NO. It’s easier though to load the “KNOBMUL.MID” file

(“SYSEX” directory) from the TOOL Disk and play it back. This file contains the pre-programmed Utility set-

tings as Sys-Ex data. This is especially useful as you will probably want to change these assignments again

at some point. You can restore the factory assignments using the “KNOBPFM.MID” file.

A small tip for tinkerers: If you decide to use the above listed alternative Controller assignments as standard

for all your song productions, it may be wise to add additional labelling to the Knobs via mini stickers, e.g.

“Volumes” below “Attack”.

So how is working with these newly assigned Multi Controllers? That’s right, very comfortable, as you can

now change the currently activated MIDI channel in your sequencer using the Knobs. You can also record

these changes to your sequencer, which particularly makes sense if you want real-time control during the

course of your song. If you are only concerned with the initial settings at the beginning of your song however,

you can simply play with the controllers without having to worry about fixing those values. This is because all

changes are transparently stored as Part settings on the machine. This means that you will need to transmit

the data via a Request to your sequencer for storage at least before you switch of your machine. The proce-

dure for doing this is exactly as described in the above EXPERIMENT, with one exception: you should use

the “REQPFALL.MID” file here, as this confines itself to Requests of the Parts available in Performance

Mode (5 -16).

By the way, you can use the Knobs like this in Multi Mode, too. In this case however you can actually see any

parameter changes you make in the display.

Perhaps you need only a few sequencer tracks for your song productions. If so, you may only require individ-

ual Part Requests (REQPART 1 - 16). This has two advantages: First, the total data size will be significantly

smaller, as only the required settings are sent. Second, a change to a single part doesn’t require renewed

Requests for all other MIDI channels.

Anyone that prefers the modular approach may see a third advantage here: Single Part settings can be

archived separately and re-used for other songs. How about a Part library, sorted into categories Drums,

Bass, Sequencer and Hook Lines, Chords, Pads, etc.?

The recommended “data storage via Request” method may be highly advantageous even if you prefer to

setup the Multi Parts from your sequencer program via faders or Mixer pages. You won’t have to concern

yourself with the tiresome procedure of transferring all Mixer page settings into the sequencer tracks via

MIDI events. You can simply re-“Request” all transmitted, fader generated settings from the sequencer.

Despite our obvious enthusiasm for Dump Request, we will concede a few disadvantages, too.

Additional changes can be a little cumbersome, as they require renewed Requests. You can however

add further Controller events to the end of the Sys-Ex blocks to correct individual settings without requir-

ing a new Dump.

The use of Sys-Ex data blocks does not follow the professional standard for XG productions. These set-

tings can not be followed by third parties.

Performance Mode does not offer visual verification of any value changes generated by the knobs,

unless of course you record these to the sequencer as Controller messages.

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Yamaha CS2x Průvodce řešením problémů Strana 53