Yamaha MO6 Owner's Manual - Page 169

Voice mode ■ Supplementary information Micro Tuning List [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 153) Supplementary infomation M.TuningNo. 00 01 02 03 04 05 06 07 08 09 10 11 12 Type M.TuningRoot Comments Equal Temp (Equal temperament) PureMaj (Pure major) PureMin (Pure minor) Werckmeist (Werckmeister) Kirnberger Vallot&Yng (Vallotti & Young) 1/4 Shift (1/4 shifted) 1/4 tone 1/8 tone Indian Arabic 1 Arabic 2 Arabic 3 -- C - B C - B C - B C - B C - B ----C - B The "compromise" tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with identical pitch relationships. However, none of the intervals are perfectly in tune. This tuning is designed so that most of the intervals (especially the major thir d and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C - B) you will be playing in. The same as Pure Major, but designed for the minor scale. Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key. Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the first six fifths are lower by the same amount. This is the normal equal tempered scale shifted up 50 cents. Twenty-four equally spaced notes per octave. (Octaves are 24 notes apart.) Forty-eight equally spaced notes per octave. (Octaves are 48 notes apart.) Designed for use Indian music (white keys only). Designed for use Arabic music. Setting example of Filter Scaling [VOICE] ➞ [EDIT] ➞ Element selection ➞ [F3] FILTER ➞ [SF5] SCALE (page 161) The best way to understand Filter Scaling is by example. For the settings shown in the example display below, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown. Setting example of Amplitude Scaling [VOICE] ➞ [EDIT] ➞ Element selection ➞ [F4] AMP ➞ [SF5] SCALE (page 163) The best way to understand Amplitude Scaling is by example. For the settings shown in the example display above, the basic Amplitude (volume) value for the selected Element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown. Cutoff Frequency 81 74 68 60 C1 Break Point 1 D2 Break Point 2 C3 Break Point 3 A4 Break Point 4 Note Amplitude 90 76 97 84 C1 Break Point 1 C2 Break Point 2 C3 Break Point 3 C4 Break Point 4 Note Performance mode Song mode Pattern mode Reference Mixing Voice mode Utility mode Master mode File mode Owner's Manual 169